Opinions On Drafting Techniques For Handspinners

In the comment section for the recent post, Drafting Techniques For Handspinners,

Ted said...
Jenny, for the follow-up post, would you please describe the advantages / disadvantages of each method. And why would I choose to use one over the other....for example English Longdraw rather than American Unsupported Longdraw? (Especially as, to me, those two look pretty much the same.) Or, why would I use a backward movement over a forward movement when spinning short draw. Thanks muchly.

Will do my best to oblige, Ted. Thank you for asking! Please readers, understand that what follows is based on my own opinions/understanding and not necessarily the opinions/understanding of others (sounds like a public service message, eh?). Actually, I've seen this topic, which segways into the whole woolen and worsted yarn "thang", get rather heated in some spinners' circles. I think this stems from folks being taught to do something "the correct way", whatever THAT is. If I had an instructor who insisted I do something one way and one way only (and I have), I'd smile and carefully back out the door. I like to learn "the so-called rules", break them, and then form my own opinions on what works for me in whatever given situations I've tested the techniques in. Hearing "my way or the highway" is akin to waving a red flag in front of my nose and usually ends up with me making a bee-line to the door.

Here goes: When I began spinning in the 80's, I remember many folks veering away from any of the short draws, for fear that someone would chastise them for spinning "inch worm" style. I heard Maggie say inch worm is also called, "shoving the yarn up the orifice" (she mentioned she didn't come up with this herself, but it cracks me up!). I've also heard short draw explained as a "baby" way to spin. Basically, I feel short draws got derogatory names from spinners that witnessed other spinners who bent over so that they were literally eye-to-eye with the orifice, pushing an inch or so of spun yarn through the orifice per treadle. Hence, short draws were often equated with overspun yarn, as you can imagine from such practice...not to mention being an uncomfortable way to spin.

To avoid being chastised and to combat overspin, you would see some people spinning with some form of an American longdraw, in as impressive and flamboyant a way as possible. The problem was that often their yarn left much to behold, especially if their fiber prep was less than great and they used an unsupported draw. I'd hear such people say things like, "I'm trying to get a consistently smooth yarn, but all I ever end up with is lumps and bumps. I don't know what I'm doing wrong." Also, this yarn they were making tended to be unstable - in other words, it wouldn't hold up to even being removed from the bobbin (it would drift apart), let alone stand up in any piece they wanted to make from it. Now several reasons could have caused the above scenario. Since we're talking about drafting techniques, let's stick with that today.

The short draws, forward or backwards, generally give me a level of control that I enjoy. I can use these techniques with just about any preparation and with just about any fiber: spinning from a combed lock's end, spinning from the fold (locks or commercial fiber preps), spinning from the end of non-top (ie. roving, sliver), spinning from top, spinning from rolags, etc. The one exception I may not gravitate to using the short draws with is spinning short fibers from punis or, perhaps, a commercial fiber prep with a short draw. But hey, don't listen to me - try it! Take ALL you hear with a "grain of salt" and experiment for yourself.

Before I continue let's look at two extremes that developed in the textile mill industry and are often used in handspinning jargon - I've taken these from notes when I took a few workshops whilst still living in Canada.

Worsted yarn definition: usually uses long fibers, but sometimes the shorter fine wools; uses only the longest fibers in the lock (produced from combing the fibers and removing the shorter bits); fibers remain parallel throughout the preparation and during the drafting technique used; no twist is allowed in the drafting zone (drafting triangle), generally a yarn with luster; little to no loft or air in the yarn; generally a strong yarn, generally a cool yarn because of the lack of airspace in the yarn; usual drafting technique promoted is short forward draw; yarn is often defined as being hard, smooth, well-defined, of firmer twist and very compact.

Woolen yarn definition: usually uses short to medium fibers (often with pronounced crimp); uses both the shorter and longer fibers in a preparation (produced from carding the fibers); fibers angle in various ways to each other (ie. not parallel); twist is, more or less, allowed in the drafting zone (drafting triangle); generally a yarn that's on the matte side; much air is incorporated into the yarn making it warmer; generally a weaker yarn subject to pilling (due to shorter fibers rising to the surface, but still caught in the twist); usual drafting technique promoted is the English longdraw (though some spinning authors say the American longdraws are suitable); yarn is often defined as being fuzzy, less-defined, of lower twist, soft and often bulky.

Now as I mentioned in the drafting technique post, many of us don't practice our spinning only within the confines of woolen or worsted extremes. We mix and match techniques, looking for a yarn that pleases us and suits our purposes. Hence, we hear terms for yarn such as: semi-worsted, semi-woolen and worsted-woolen (and probably others) as ways to label this mixed and matched yarn we're making. According to one source, a semi-worsted yarn is where the fiber preparation OR the spinning preparation OR the fleece choice varies from the extremes called "worsted". But please note, even in the extremes of woolen and worsted, the experts in the handspinning world vary as to what the rules really are. That's evident by the above words typed in bold: often, usual, generally, more or less... In yet other words, you may find another definition for semi-worsted that differs from what I found. Don't be alarmed. Smile and form your own conclusions. Except, of course, if your studying for a handspinning certificate of some sort - then you need to find out what the rule-makers feel is truth. Me? I'll continue to build on my arsenal of spinning techniques and use whatever methods, in whatever combination, work for the situation at hand. If one technique or combo of techniques doesn't work, then I'll try another....I guess I'm a rebel.

OK, now to the meat of Ted's question (I'm told if there's a long way to say or do something, I'll find it....).
Here's Jenny's opinions for the various drafting techniques:

I like the short draws and am never embarrassed to use them. As I said earlier, I like them for the control they offer (I've been told I'm a control freak). I particularly like the short draws for spinning slippery fibers such as silk or any of the "silken" fibers such as Soysilk, Bamboo, etc. I often begin with short forward, and if that doesn't work well, try short backward. If neither of these techniques work well, I move on to the longer draws. Because I'm a knitter and want a yarn full of life, I often "lightly finger" the twist, but aim not to pinch all the air out of the yarn, even if I'm spinning with a short forward draw (often THE drafting technique choice for a worsted extreme yarn). For me, it's not really that there's an advantage of short forward vs short backwards - it's whatever works best at a given moment with given materials.

As for the American longdraws, I would consider an unsupported American longdraw IF my fiber prep was superb and the fibers were short. I particularly like this technique with well-prepared rolags of short fibers or well-prepared punis with really short fibers. I also like the unsupported technique when I'm using really short fibers (ie. cotton, using punis or a commercial prep) with a charkha or great wheel, especially after I condition the commercially prepared, short fibers via giving them a shake or gently opening them horizontally a bit to release any compression they've encountered in packaging.

I often like the supported American longdraw with any variety of fiber lengths and any good preparation.
Actually, I come from the camp that prep is EVERYTHING (or just about everything) when it comes to my enjoyment at the wheel or spindle. I like to use this two-handed, supported method, when I need to have a forward hand to pinch the spun (but not-yet-wound-on) yarn so that I can gently tug against it when drafting. This second (forward) hand, thus, offers a measure of drafting control. The longer length of spun yarn, prior to being stored at the bobbin, helps the spinner, via visual means, remain consistent over a longer length than a portion of just a staple length (ie. as in the short draws).

I was taught the sliding, supported American longdraw from Celia Quinn back in the early 90's. However, go to any guild meeting across the U.S. and I bet you'll see this drafting technique, in some variation, practiced. Celia mentioned it as particularly excellent for slippery fibers such as silk, giving control and helping the spinner, via visual means, remain consistent over a longer length of yarn prior to winding onto the bobbin.

Now as to the difference of the unsupported American longdraw vs the English longdraw: The American longdraws all are considered "point of contact" draws. The point of contact is the area where the spun yarn is immediately in front of the drafting zone. We learn early that if we pinch on the point of contact (which is yarn), instead of on the drafting zone (which is still unspun fiber), we'll get a non-slubby, consistent yarn.
This is because our pinching fingers aren't preventing twist from entering the entirety of the drafting zone (triangle, so to speak....but how often it doesn't look like a triangle, eh?) In any case, the twist, and hence, point of contact, in the American longdraws moves like a freight train away from the orifice and towards the unspun fiber. Sometimes this twist actually enters the unspun fiber supply. If it enters too fully, the twist locks the fiber and the spinner cannot draft. If it enters a little, that's usually not a problem.

The English longdraw varies from the American longdraws in very particular ways: First the spinner, who is treadling, pinches at the point of contact but does not let the point of contact move backwards as twist builds up before the pinched point of contact. Then, with continued treadling, the spinner takes a portion of unspun fiber, which should be a consistent amount each time, and allows the built-up twist to enter that controlled portion of unspun fiber, quickly moving backward as a soft yarn forms. By drawing out this spun yarn, inconsistencies within the yarn are "worked out" and seemingly melt away (depending on how well the fiber is prepared). The spinner then adds more twist, via treadling, into that soft yarn, to make it stable, before letting it wind onto the bobbin. It actually feels like pulling taffy when you let the initial built-up twist enter the controlled amount of unspun fiber and continue to draw out the inconsistencies. Neat! The fiber of choice for the English longdraw is a really well-prepared rolag. I've read, the English longdraw is like no other draw because it retains the coiled structure of the rolag as twist enters into it, rather than attenuating the fiber to be more parallel as the twist enters, as in the American longdraws. Thus, the English longdraw allows for a yarn of incredible elasticity and loft.

Regarding the 7th drafting technique mentioned in the earlier post, the American forward longdraw, please let me refer you to Patricia Emerick's article in the past Spin-Off issue, summer 1990. I find this draw really useful when spinning from punis or well-prepared rolags of shortish fibers. Patricia mentions she can sit back in her favorite chair and finds the technique very comfortable to perform. The only thing the spinner has to get used to with this technique is that the forward hand is positioned on top of the yarn, which is very different than the other techniques mentioned.

So now you've heard some of my opinions. Once again, YOUR opinions are most welcome in the comment section of this post. Thanks.

On a lighter note, I think sheep may find it amusing that we spinners ponder the intricacies of various techniques to spin their wool into yarn. Pictured are some wise, Border Leicester sheep at Black Creek Pioneer Village in Toronto, Canada.