It’s the school holidays. For me, that means knitting season has begun. I’m sketching ideas, knitting samples, writing up patterns, attending to social media, answering emails without a time delay, writing blogs. Occasionally I glance up to check that the children haven’t been crushed beneath a falling Lego monolith or eaten any non-food items. If I’m feeling generous I speak to my husband when he gets in from work and cook a meal for us all.
You see, for me, knitting design is the job I fit around my other job as a primary school teacher. Officially, I work part-time (just about- my hours are now 80% of full time) as a primary school teacher. Anyone who has tried working part-time as a teacher will know that what that actually means is that you work full-time and just get paid part-time. During term time, full time often means 10-12 hours of work, 6 days a week (Sunday is marking and planning day). You also get big long holidays at the same time as your kids and off-the-scale job satisfaction so I’m in no way complaining- I chose this career.
The effect teaching has on my knitting design job is that there are long periods of the year when my time is so squeezed that it’s really hard to do it properly. I’m lucky enough to know a number of very knowledgeable people when it comes to building your brand as a designer and through them I realise that there are a lot of things I should be doing, like a more structured and diligent approach to my online profile, a less haphazard approach to the work I do etc. The trouble is, the on-again, off-again nature of the time I can give to designing makes that really hard to achieve. During the last year, the challenges and responsibilities I have in my teaching job have meant designing has had to take so much of a back seat it’s basically trailing along behind, hanging on to the exhaust pipe.
All this leads to a few questions about what I do. First among them must be: Why do the knit designing instead of just knitting for fun?
That’s pretty easy to answer. I love it. I love the whole process from coming up with an idea and writing a proposal, to getting commissioned, sorting out yarn, making the sample, writing up the pattern (even though I grumble about that part), working with tech editors (even though that feels like getting your homework marked) and seeing how people react when it’s published. It stimulates and challenges me in ways that nothing else I’ve done ever has, has led to me getting to know some amazing and brilliant people, added a whole new dimension to the craft I love and it’s still a source of joy to me to find that this is something I can actually do.
When I say that I kind of fell into knit designing by chance I worry that this sounds insulting to people who have chosen it as a career and spent time gaining qualifications for it. I probably don’t explain myself well by saying ‘fell into’. What I mean is that I didn’t ever expect that I’d have the opportunity to be paid for my designs and that I’ve never gained the formal qualifications for a designer. However, I had spent years developing a range of knitting skills and making up designs as I went along without realising that this was actually the nascent stages of designing. I had a long standing interest in textiles and the visual arts. My previous career as a journalist meant I knew how to work to a brief and a deadline, following a house style and not being precious about having my work edited. When an open call on Ravelry led me to Kate Heppell and the early issues of Knit Now it was maybe less of a chance occurrence than it first seems.
The issue of Ravelry and the self-publishing dream leads to my second question: If I’m not committed to doing this full time am I not taking it seriously enough?
I find this a really tough one. I count a number of full-time knitting designers among my friends and I know from them that these are tough times. When I say full-time knitting designers, I mean people whose income is derived from knitting design, plus a number of other ways they deploy their skills to make it work, financially- tech editing, teaching workshops, pattern editing, blogging etc. One of the reasons they have to develop such diverse portfolios is that the market for patterns is somewhat saturated with self-published designs. There are a lot of people, from the weekend hobbyists to the big yarn companies, putting patterns out there. Some high quality, some awful. Some gobsmackingly expensive (in an ‘I could buy a book of patterns for that’ way), some for free (maybe as a loss-leader, maybe as a promotion, maybe just as an ego trip). The upshot is that it takes a lot of work and not a little luck to make your design stand out -and ultimately sell, if that’s your income source- amongst all this noise. A worry for me is that if I’m not doing this ‘seriously’, am I part of the noise that make it harder for those full-time designers I admire and respect and whose work I want to see continue?
Of course, one response would be to give up the teaching and pursue a career in knitting design full time. There probably aren’t many teachers who don’t nurture at least one secret escape plan, especially at the more stressful times of the year, so don’t think I haven’t considered it! What stops me is part lack of nerve and part grasp on reality. The lack of nerve probably stems from the fact that a few years back, just when the responsibilities of a young family and a mortgage meant regular income was more necessary than ever, our circumstances took a serious wobble due to circumstances far beyond our control. We got through it okay, but it’s the sort of experience that makes relinquishing regular pay cheques a scarier prospect.
The grasp on reality part is again down to the privilege of knowing a number of highly talented individuals who have gone down the ‘designing only’ route. Through being friends with them I have a little insight into the (crazy, even by teacher standards) hours they work, the balancing act of holding business/family/quality of life together and the diversity of often not directly creative skills they bring to bear on making a success of being a designer. This article from the Design Trust puts it really well. Articles in magazines accompanied by whimsical photos of twine and lavender sprigs about giving up the daily grind to make artisan soaps are quite obviously guff- either it’s a lot more hard graft for low rewards than is presented or there’s a very large income source somewhere out of shot. For more great insights into the realities of designing see Kat Goldin, specifically her ‘Making it Work as a Designer’ blog , but actually, just see the amount she does, in general, while raising her family. My grasp on reality is that while I might have the work ethic, I only have some of the skills I’d need to make this my full-time business and there would be a very real possibility of me putting it out there and nobody biting.
My answer to that question from way back is that actually, yes, I do take it seriously. I have learned when I can take on projects so that I’m not up against deadlines just when school reports need writing/new classes need settling in/grand Christmas extravaganzas need producing. I have scaled back the number of projects I take on so that I can focus on quality. I have accepted that my online profile will be less high than it could be because I simply don’t have time to maintain my blog, start a podcast or engage with social media as regularly as I could when things get busy at school. I’ve done all this because I’m determined that, even though I’m part time, I’m still professional, which means not just getting paid, but behaving professionally by doing a good quality job. It’s definitely not ‘just a hobby I get a bit of money for’. I hope that for these reasons I have the right to count myself among those I admire as designers (even if I’m hiding at the back somewhere).
With that, I’m off to check the children aren’t illicitly watching unsuitable television (screen time in exchange for Mummy writing time), wrestle with a rapidly expanding lace chart and probably do a little sock knitting (purely indulgent and/or for research purposes). You may well hear more from me on these pages over the next few weeks, but don’t get too used to it- term starts again soon!
About a year and a half ago I began to think I wanted a yarn bowl. I’ve always been fond of a good bit of ceramic and there were some beautiful handmade bowls to be found on Etsy. In addition, I was doing an increasing amount of colourwork and using centre-pull balls wound from skeins. A plain bamboo bowl worked as a stop-gap for a while, but without the depth and custom-made holes or channels for yarn, the ball could still leap out and the yarn get tangled.
Then one day I was reading/listening to the podcast on Never Not Knitting and there was one of those ‘leave a comment to win’ competitions for a lovely yarn bowl with a bird perched on it from Uncommon Goods. I commented, just like I have on any number of similar blog competitions in the past. Only this time, I won. Thus, technically, I’ve owned a yarn bowl for over a year now.
Except…somehow it wasn’t that simple. When I contacted Uncommon Goods about my prize they said sorry, but they couldn’t ship it to the UK. Hmmm. Some complicated email exchanges involving gift vouchers ensued until I eventually realised that the only way to get my bowl was to get it sent to somewhere in the US.
We tried our friend in Texas. Would he please use my voucher to get the yarn bowl sent to him, then get it sent on to me? He kindly agreed and hence ended up as probably the only non-knitting possessor of a yarn bowl in Texas. He looked into shipping. $170. Enough for several yarn bowls. He unpacked it (discovering what a yarn bowl actually looked like in the process) and repacked it in a smaller box. $150 said the shipping people. Unprepared to let me spend that much money on getting it sent, he sat it next to his TV until a better plan could be dreamed up.
So there my yarn bowl sat, through the Autumn and Winter, into Spring and for most of the Summer. Cut to September this year and the wedding in Sorrento of a mutual friend from Uni (where our friend in Texas and my husband met and became friends). As we prepared for what proved to be a punishing journey, an amazing, full-scale Italian wedding overlooking the Amalfi coast and overall a tiring but unforgettable and crazy dash to Italy and back in between working weeks, my little yarn bowl was transferred to a bag full of bubble wrap and stowed in our friend’s suitcase to cross the Atlantic at last.
On Sunday morning, all slightly delicate from the delights of the previous day (and night’s) feasting and drinking, we met up at the Circumvesuviana station in Sorrento and with some relief on his part and joy on mine, our friend handed over my yarn bowl.
From the glorious Mediterranean heat in Naples we return to England and the first nips of Autumn in the air. My little bird has completed its flight and at last I not only own but actually possess a yarn bowl, which is safely installed in my new workroom. Just in time for my favourite knitting season. Happy Knitting my friends and thanks again to the lovely Alana- do go check out her blog and more especially her gorgeous Playful Stripes cardigan patterns.
Like many, I walk a tightrope on which I wobble between my creative life and the demands of family and day-job work life. For the last few months I’ve wobbled towards (one could probably say overbalanced into) the family and work side. Hence the silence on this page. There has been some knitting work going on, including frantic and in some cases unsuccessful late night attempts to meet deadlines. Thank goodness for sympathetic editors- you will nevertheless see the results in print later this year. There has been checking of patterns before they went into print. There has been dreaming, sketching and much making of lists. What there hasn’t been time for is writing about it and I don’t think there’s much point in backtracking now.
As the whirlwind of the early summer months subsided I found myself suddenly with a glorious weekend of (nearly) nothing to do. ‘Nothing to do’ of course translates into ‘what can I knit?’ and I urgently wanted something simple and pleasing on my needles. After a little light stash diving and contemplation of other people’s patterns in order that I didn’t have to think about recording what I was doing or grading what I’d done I settled on a new cardigan for M.
The pattern is ‘Tiny Tealeaves’ by Melissa Barre. I’d enjoyed making one of these for M a couple of years ago and it got a lot of wear before she grew out of it. In worsted or aran weight yarn it grows nice and quickly and being a seamless, bottom-up design there is very little fiddling about to be done in finishing it. It has just two buttons to fasten it, which mean it is easy for her to put on herself and the slight A-line this gives means it works over layers including dresses or trousers. My favourite feature is the garter stitch and ruching detail on the yoke- pretty but not fussy and a great way to show off a lovely yarn. It’s this part that attracted me to the grown-up version originally, although I’ve yet to make good on the promise to knit one for myself.
The two skeins of Malabrigo Worsted I used to make this had been in my stash since the Rocking Kitchen retreat last year. I was excited to find this in my goody-bag as it was a yarn I’ve often seen used in Ravelry projects but not had a chance to see in the flesh, so to speak. The colourway is ‘Forest’ but in that lovely way that hand-dyed yarns have, the quality of the colour changes in different lights so that sometimes it is indeed the deep, slightly dull green of a pine forest but at other times there are flashes of blue-green that reminded me of the sea.
There are some large areas of stocking stitch involved in Tiny Tealeaves and in this case these were larger still since I added extra length to achieve the right fit on M. This gave a great opportunity to see the fabric created by the yarn- sturdy but soft and with a lovely sheen to it. The colour undulates rather than striping or pooling. The overall effect is one of quality and I can totally see how Malabrigo has got to be so popular. With the weather we’ve been having it’s not had a lot of wear or washing yet so I can’t report on how it ages. I would possibly expect a bit of pilling due to the soft feel of it but as it feels like a generous weight to be knitted on 4mm and 4.5mm needles so the density of the knit is likely to help it keep its shape well. I’ve Ravelled the project here.
I more or less ignored housework or any other form of work that weekend, sticking to knitting and relaxing with the family. The cardigan was finished by the end of it and came with us to Scotland for our holiday a week or so later. Here I photographed it, although that was about the only time it was worn there as we were blessed with the sort of sunny weather no-one ever associates with that country. When I uploaded the shots I was taken aback by how grown up my little girl looks, even before I compared them with the pictures of her wearing the first Tiny Tealeaves I made her. Time passes fast and at that moment, and many others during our holiday, I was reminded of this poem by William Henry Davies:
What is this life if, full of care,
We have no time to stand and stare.
No time to stand beneath the boughs
And stare as long as sheep or cows.
No time to see, when woods we pass,
Where squirrels hide their nuts in grass.
No time to see, in broad daylight,
Streams full of stars, like skies at night.
No time to turn at Beauty’s glance,
And watch her feet, how they can dance.
No time to wait till her mouth can
Enrich that smile her eyes began.
A poor life this is if, full of care,
We have no time to stand and stare.
An over-quoted cliche? Perhaps, but it still holds a lot of truth for me.
Do you have a favourite brand of knitting needles? Or even a favourite pair? The other evening I didn’t even care about the brand, I just needed some 4mm needles to swatch for a project that I really needed to get going with. Straight or circular, it didn’t matter. Surely, as a rather regular knitter who usually works in the DK to Aran-weight range I should have been able to lay my hands on some, but it took hours of burrowing through boxes and bags, digging out UFOs in hope, before I finally located a pair of 4mm straights. Knowing that I would need circs for the project, I swiftly ordered some from Meadowyarn, then set about swatching and discovered I would actually need to use 3.5mm needles to get the gauge I wanted…
Grumbling about this on Twitter led to some interesting comments from knitting friends. Everyone seemed to have certain sizes of needles they couldn’t live without and others they just never used. For me, the former category would include 3.25mm and until recently 4mm as well, but actually since acquiring 3.5mm needles not so long ago they are getting a lot of use instead. Weirdly though, I seem to have a lot of 3.75mm that never see yarn, while for some they are apparently a must. There are a lot of variable factors involved I suppose- the yarn you tend to use, obviously, but also your own tension and the style of knitting you do (I prefer to use smaller needles than is usual for the yarn when doing colourwork, for example). According to this blog post by Alexis Winslow, even the material your needles are made from can affect the gauge and therefore the resulting fabric and presumably the sizes you’ll tend to use more.
When I first learned to knit there wasn’t a lot of choosing to be done, in all honesty. The yarn I was using was oddments of acrylic from which the ball bands had long since disappeared, so I had no idea of the weight or recommended size. Needles would have been picked out of a jumble of (often bent) metal and plastic needles- my mother is much more of a seamstress than a knitter, unlike her mother, who taught me to knit- mainly on the grounds that they were a matching pair. When I got back into knitting more seriously in my twenties the knitting landscape was oh so different and the wonders of the internet introduced me to the joys of pure wools, artisan dyed yarns and needles in gorgeous, smooth and light bamboo or wood.
The first pair of really nice needles I bought were 3.25mm Brittany Birch straights. Although I’ve acquired a good number of wooden needles since then, these remain my favourite straight needles. In this size, the balance and weight is just perfect as far as I’m concerned. They don’t snag but they aren’t too slippy and I get just the right gauge using 4ply yarn. It’s just a shame I rarely knit anything flat these days. Even when I do, I tend to use my circular needles anyway. While on the subject of straights, my prettiest ones are my Art Vivas. I have a 4mm and a 6mm pair with their signature dotty ends. I love how they look in my needle jar, but sadly I find them to be style over substance. I think I have only ever knitted one project using 6mm needles, as it’s just one of my unused sizes, and as for the 4mm, I’ve tried to use them but find they constantly snag the wool, even after several different attempts to smooth them down. Maybe I just got a duff pair but just as the right needles can feel so right and make your knitting fly, the wrong ones can drive you up the wall.
Wooden needles were my first conversion to the new generation knitting world. Next came circulars. Like many, I would guess, my early ventures in this regard were not great as I tried to get away with cheap plastic or metal circulars with lumpy joins and inflexible or permanently kinked cords. Although I conceded that they were preferable to fumbling away and stabbing myself in the chest with a set of DPNs, it took the purchase of my first decent bamboo circular needle, along with the enticement of seeing so many gorgeous seamless projects on Ravelry, to convince me. My Aunty has recently had a similar conversion, learning to knit in the round so that she could use some yarn I’d given her to make a snood and going on to make (at my suggestion) a Cookie Jar hat for each of my children in super quick time. Those children were the decider for me when it came to using circs. It is so much safer to dump a circular project in a hurry when a sudden baby emergency happens- stitches usually stay in place. Not to mention it feels a lot safer having circular needles lying around than long, pointy sticks- although my curious two learned at a very early age that they do not touch Mummy’s knitting.
A year or so after I started using circular needles I acquired a Knit-Pro set and thought that with these wooden interchangeables I was pretty much set for life. They have certainly had, and continue to have, a lot of use, with my only niggles being that a couple of 3.25mm tips broke off recently (one when I sat on it, admittedly, but the other for no good reason) and the tendency for the tips to unscrew during use so that the yarn snags at the join. Those aside, I love the texture of the needles and find the versatility of the interchangeable tips really useful. However, having knitting friends online can be a danger to the bank balance. Some of them started to wax lyrical over metal needles- specifically ChiaoGoos and HiyaHiyas. Metal needles? My mind returned to the heavy, cold bent things I dug out of my mother’s sewing box and those cheap numbers I bought when I first tried knitting in the round. I was swiftly assured that these were not the same in any way. I tried them. I swiftly gained a new obsession. The main appeal of ChiaoGoo needles for me is the texture of the needle. They appear to be slightly brushed and this gives the absolute ideal balance between slip and grip. The only way I can put it is that they whisper through your stitches. As for HiyaHiyas, the flexibility and smooth join of the cord is just fabulous. Magic loop is so easy, as is eliminating the laddering that can occur when knitting in the round. HiyaHiyas are also super smooth and pointy, just not quite the utter joy of ChiaoGoos, while the thicker, more robust red cord of ChiaoGoos is not quite as flexible and easy to work with as the HiyaHiyas, but again you don’t get any problems with kinks. Basically, if I could have a ChiaoGoo needle with a HiyaHiya cord I would really have found my perfect needle. For the time being, anyway.
Of course, there’s always something else to tempt me- I’ve never tried carbon tips for example. Or those prism shaped ones. I’m eminently suggestible when it comes to new needles. Just don’t ask me to lay my hands on the right size when I need it…
My hands have been anything but idle this week. I’ve got a dress I’m sewing from the ‘pile of fabric shapes’ stage to the ‘it’s starting to look like a garment stage’, reminding myself in the process that while I like the quick gratification of sewing, the clearing up afterwards drives me mad. I’ve also been knitting away on a commission using all the colours of Eden Cottage’s new mill-dyed wool/silk yarn, Milburn. I can report that it’s lovely to work with- not the necessarily the choice for a newbie to colourwork as it isn’t particularly ‘sticky’ but it looks wonderful and feels incredibly comfortable in your hands. I’m planning to investigate this yarn’s possibility with textured stitches in the coming months as plans are afoot!
Last night I just fancied a change from the full on knitting and sewing, so I decided to do a bit of hooking. I used my Stylecraft stash, but rather than working on my long-term chair cover project I decided to try making a mandala to send to Lucy at Attic 24. If you went to the inaugural Yarndale festival in Skipton you’ll have been unable to miss the gorgeous crochet bunting she organised- a triumph of communal crafting with contributions from around the world. This year, rather than more bunting, she is asking the many readers of her lovely and uplifting blog to contribute mandalas (bright coloured, circular crochet circles) to help decorate Yarndale 2014- you can find out more here.
I’m very much hoping I’ll make it to the event itself, but if that doesn’t happen, I’m determined that my handiwork will be there. Being part of a mass making project like this is another first for me, following my first knitalongs (Woolly Wormhead’s Mystery KAL last autumn and the Ravellinics earlier this year) in recent months.
Since granny squares are my main area of experience with crochet, I chose the Granny Mini Mandala pattern contributed to the cause by Zelna Olivier. It was quick and easy and really rather fun, although I’ll always prefer two sticks to one, of course! As per Lucy’s instructions, I lightly pressed my finished mandala and coated the back with PVA to stiffen it (this is to help with display). It will go in the post in the next day or so, then I’ll look out for it on the spectacularly colourful Pinterest board and, with luck, at the event itself on the 27th and 28th September.
It’s a tricky thing when you offer to make something for somebody. Especially when that someone is your sister (if you have sisters, you’ll understand). Especially when the something is for them to wear on their wedding day. Nonetheless, I was still over the moon when my older sister said that yes, she would like me to make her a shawl to wear when she gets married this summer. This was, it must be noted, what I suggested I should make for her. I loved the idea of making a shawl for her so much that I neatly forgot that I have very little experience making shawls. Very little being I made one once and it was rubbish. Hmm.
This wonderful, exciting challenge (with the pressure of a VIP customer and an immovable deadline) had to begin, of course, with a pattern. I put together a few ideas on a Pinterest board and sent big sister off in the direction of Ravelry. Personally, I was hoping she’d choose Shipwreck, but she decided she wanted something smaller and lighter and settled on After Hours by Wendy Gaal. With the benefit of 20:20 hindsight (and the wisdom of others more experienced than me who have since expressed their opinion) I may have tried a bit harder to avoid a lace pattern using sock weight yarn on 7.5mm needles. Especially as the needles I was using in that size were slippery metal ones. Still, I can’t fault the pattern writing. After a couple of false (and sweary) starts, I settled on using the charts, referring back to the written instructions when I needed to. It was an act of faith getting through that stage when it looks like a string vest and only having stitch counts to really tell me that I was on track but once the blocking had worked its magic the beautiful design was revealed. It’s reminiscent of peacock feathers, which will work beautifully with her dress- not a conventional white meringue, this being my sister.
Yarn choice was also key for this piece. The intended wearer has skin that is very sensitive to any form of itchiness in clothes. I had to work hard to convince her that not all wool was itchy and eventually she agreed we should order some Eden Cottage Tempo- a super smooth merino with silk- and see how it felt. The colourway is Silver Birch and when it arrived and looked at it in artificial light I wondered if it was too blue- we needed something silvery. However, the beauty of this hand-dyed colour is that it changes in different lights- in daylight and against the dress fabric it was perfect, a kind of antique silver with the blue tones just lifting it. Although this was a project involving a lot of cursing, eye-strain and worry there was never a moment when I didn’t enjoy the yarn.
The final hurdle of the project was beading- something that had intrigued me for a while but that I had no clue how to attempt. I remembered reading once that there was one method involving threading all the beads onto the yarn before you begin, but this pattern just called for the beads to be applied on the border using a tiny crochet hook. Reassurance and advice from online friends including Anniken Allis and Tracey Todhunter led to me sourcing my silver beads from Debbie Abrahams- size 6- which I used with a 0.75 hook. I actually really enjoyed the beading part- the technique was quite easy to master- and have since been playing with some beaded swatches so if nothing else, this is a new skill I may well use in future designs.
There is something else though. I’m very proud of myself for knitting way outside of my comfort zone and I’m really pleased with how it looks. I seriously hope my sister will like the finished result (Ravelled here) too and I’ll be incredibly proud and touched when she wears it on her special day. Will I be knitting another shawl any time soon? Probably not, but at least I know I can!
The new issue of Knit Now came out this week and I’m looking forward to reserving at least some of the Bank Holiday weekend for reading it. The editorial includes an article about the influence of the Arts and Crafts movement on knitters by the lovely and talented Karina Westermann (who also designed the Prosperine half circle shawl for this issue) and it’s this aesthetic style that was the influence for The Collection this time around. Lovers of painterly details and femininity (without twee-ness) will find a lot to like among these designs. My personal favourite is Claire Neicho’s beautiful, William Morris-inspired Chrysanthemum Vest:
Experience tells me that I would regret making this style of garment for myself as it really wouldn’t suit my figure, but I can absolutely see myself reproducing her gorgeous colourwork pattern in a jumper or cardigan I could carry off more successfully. It uses Jamieson and Smith Shetland Heritage for goodness sake!
Also in this issue is my Twine Hat. A rather more restrained affair than some of the beauties mentioned above, it was nevertheless a real pleasure to design and make. Having learned my lesson from overloading myself with too much in the way of commissions, when I set about writing the proposal for this design I went back to basics- the stuff that I really like (and can manage in a realistic timeframe!):
I decided on a hat because I like designing hats- they are big enough to get something interesting going on between casting on and off, but small enough to provide some fairly quick gratification. I asked to make it in a good, ‘sheepy’, wool yarn (Blacker Yarns Pure Organic Wool Corriedale/Hebridean) because I like using yarns with the sort of integrity and texture that result in a piece that feels like it’s been around forever even when it’s just come off the needles. Finally, I used single, travelling cables in a simple, rhythmic pattern on a background of reverse stocking stitch because it’s just a look that I like. It’s not one that is easy to reproduce in machine knitting, so this is the sort of hat that, while quite subtle, will be identifiably handmade to those in the know.
Twine is a fairly straightforward beanie for anyone who can follow a cable chart. Additional height could be added at the top for a more slouchy look and it would work well for men too. It’s the sort of design that could very much let the yarn be the star, with the cables being more prominent if you used a silk blend yarn or a solid colour with strong stitch definition, or being more of a textural touch if it was variegated yarn. I’d love to see some different versions made.
Sorry, couldn’t resist the dreadful punning title. But it’s true, I have been skiving off the knitting for a little of this week. Look away now if you read this blog for my usual devotion to pure wool and 2-needle action, there are crochet hooks and acrylic involved today! It’s probably because I’ve been putting in the hours with The Shawl, which is now at the edging/beading stage. Beading is a bit of a revelation to me and one I think worthy of its own post. Maybe when I have finished, or at least got a bit further along the border, and am therefore a bit less prone to frustrated swearing and anger (it’s great, really, just….challenging when you learn a new skill. Ahem.)
The bit of hooky is therefore light (and oooh, gosh very bright) relief. My crochet skills are basic, to say the least. The sum total of my projects to date are a load of variously sized granny square blankets and a triple crochet draught excluder. I apologise to the very talented crochet designers out there (some of them are my friends, for now at least!) but I tend to see crochet as a homewares and interiors craft because of it’s more robust, less prone to stretching qualities. No doubt I’m missing out on many marvelous potential garments but truth is I’ll always be happier with two sticks and it would take a lot to persuade me that I’d rather have a crochet rather than knitted cardigan.
Anyway, I digress. I’ve been reading the lovely Attic 24 blog rather a lot recently and being a colour fiend couldn’t help but be seduced by her gloriously multi-coloured creations. At the same time I’d been pondering what to do with a rather shabby IKEA Poang chair that we’ve carted from place to place with us and which has come to rest (with a matching foot stool) in my new/under development studio/workroom. A bit of an IKEA-hack seemed in order. Given my aforementioned lack of skill and the sheer number of granny squares in my past I decided to give the lovely (and apparently very easy to master) ripple pattern a swerve, along with the idea of a granny stripe. Instead I’m working in easy stripes of triple crochet with some bright colours inspired by Lucy’s work and hoping to make a cover for both chair and foot stool.
For reasons of economy as much as anything else, I decided to go for Stylecraft Special DK instead of a wool yarn. Even if crochet doesn’t gobble up yarn at the rate it’s meant to, this is a whole chair and foot rest we’re talking about here, so BFL would bankrupt me. I could also mention that Stylecraft is apparently the yarn du jour amongst the crochet types out there, so I thought I should bow to superior knowledge and pick seven colours from its huge range.
Hmmm…the perils of picking colours from the internet. The yarn is actually not bad at all for being a pure acrylic- soft and bouncy and with no noticeable squeak- but the pink and green are a little more on the wild (day-glo?) side than I envisaged. The overall effect of my stripes is pretty eye-popping and I have to admit to having had a few wobbles about whether it’s quite the colour combination I wanted. I think it’s growing on me though, especially when I try it on the chair itself. We’ll see.
On a far more subtle (tasteful) note, I seem to have lined up another sewing project for myself. There’s a list of these. A growing list. Once I’ve finished The Shawl I need to think about what I’m going to wear as Sister Of The Bride this summer. I had been all sorted, having made a hat with Sara Gadd on our hen weekend at Higham Hall a couple of weeks ago which was intended to go with the dress I was going to buy- not make, buy. Then on the way to the weekend I had a nice little shopping spree in the Standfast and Barracks factory shop in Lancaster, picking up some lovelies including this Ianthe Liberty Tana Lawn. Said fabric was meant to be the rather posh backing on a quilt but then it ended up being left lying near the hat and I thought how well it would work as a dress to go with the hat and the next thing I knew I was ordering this Mortmain pattern by Gather and a pretty lace edged exposed zipper…
Anyone know how to stretch time so that there are twice as many hours in the day? Answers on a postcard please!
Whatever your personal and particular beliefs around this holiday, there can’t be many people who don’t respond to the joy of an extended weekend with longer days of sunlight, the promising warmth in that sunlight and the broadening colour palette in the outside world. I totally fit the cliche and find myself wanting to Spring clean and start, or restart, projects. Energy, vigour and colour is what’s required!
Most exciting of all my projects at the moment is what I’m calling my ‘studio.’ I may be giving this space more status than it deserves, it being a slightly rickety sun room tacked onto the back of our house. Since we moved in nearly four years ago it’s had no particular long term status and has become a storage space for otherwise homeless odds and ends, most recently due to the kitchen renovations. The combination of a more-or-less finished kitchen and a knitting/craft ‘corner’ that’s threatening to take over the entire living room means that it seems high time me and my wool/fabric/book stash had a room of our own.
With the children packed off to their grandparents for a good spoiling C and I went through that awful process of creating a much larger mess in order to achieve a better end. We did manage to chuck a satisfying amount out of the house and store a reasonable amount in the loft though. There’s still some way to go, but I am at least now beginning the more delightful process of bringing stuff in for arranging on newly empty shelves. With luck and a bit more work I should begin to be able to show off ‘after’ pics soon.
With most of my current knitting projects requiring too much thought or pattern following for car journeys, the long trek down to my parents on Friday was a time for me to restart the hexipuffs of my Beekeeper’s Quilt. Still very much at a nascent stage, my collection grew by five and a half as we negotiated the M6 and M5. This is definitely going to be a long time project (as in, years and years) but that’s fine by me.
Over the holiday weekend I’ve also been taking advantage of my mother’s superior knowledge for a restart on another quilt- a long overdue ‘big girl bed’ one I meant to give to M nearly two years ago. It’s mostly made from the fabric of dresses she had as a little girl but the Jacob’s Ladder pattern required more small squares cut, as well as someone to figure out how it will all go together- hence the need for motherly advice. I think I now have a clearer idea, all the pieces I need and a space in my ‘studio’ to set my sewing machine up, so as long as I can maintain momentum I’ve a fighting chance of getting this one finished in time for her birthday in June.
As if to prove what a ‘big girl’ this big girls’ quilt is being made for, I’ve also been able to spend a bit of time with M this weekend doing some proper, sharp-needle-and-thread sewing for the first time. I’d bought a copy of Mollie Makes magazine and it came with cute kit for a ditsy fabric flower brooch. With help, M drew around a lid on each piece of fabric, cut out the circles, folded the circles into quarters and sewed a simple running stitch along the curved edges without skewering herself or my fingers. The finished brooch looks very sweet on her new Spring mac although I think I am more proud of it than she is!
Finally to my main ‘work’ this weekend: The Shawl. I’d been taking a break from it for the last couple of weeks because I couldn’t figure out where my wildly incorrect stitch count was coming from and was too tired in the evenings and too busy at the weekends to sort it out. I knew I had time on my side these last few days but I swiftly decided that rather than trying to work out where I’d gone wrong, it would be quicker and easier to start again. I used the stitch markers again but didn’t bother with the lifelines as they hadn’t seemed to help much before. Restarting with the knowledge I’d gained from the first attempt turned out to be a really good idea. I relied more heavily on the charts rather than the written instructions,did a lot more counting and probably less swearing than the first time around. Although it’s sent me squiffy-eyed, spending big chunks of time on consecutive days/evenings has helped me keep on track and now I’m on the final body section. Next I need to order some beads to take on the challenge of the edging but I feel that again, I have a fighting chance of getting this one in the bag in time for it’s June deadline- my sister’s wedding.
I hope you too have had a restful and creative weekend.
This week I have learned…
That when it comes to grading garment patterns, I am actually more confident at the moment using pencil, paper and calculator than the spreadsheets most sensible designers use. Having said that, I do use the Excel formula for calculating even increases or decreases I learned on Ruth ‘Rock & Purl’ Garcia-Alcantud’s Grading Course. I also learned that if I just get on and DO it, it’s possible to sort out several sizes of sweater without too much pain. Yes, you can expect some patterns for garments, people. Hopefully in the not too distant future- I just need to hold my nerve when it comes to all those numbers.
I also learned that when it comes to swatching you need to go large or go home. Having always regarded swatching in rather the same way as getting enough fibre in your diet (boring but necessary and sensible) I’d been producing some larger swatches after Joeli was talking on her podcast about the ‘Swatch Like You Mean It’ course she was taking and also having read this. When it came to the number crunching mentioned above and proposal writing that followed, having a decent-sized swatch was great. More accurate measurements, a much better idea of how the finished fabric will feel and behave, and a clearer sense of how the colourwork or stitch pattern will work too. If designing or planning on substituting a yarn in a pattern, swatching- and swatching large- is a must. Weirdly, once you get used to the idea of using up a fair bit of time on something without an immediate practical use after the measuring and so on, it can be more relaxing to make a larger swatch instead of fiddling with a tiny, curled up square because you’ve cast on the bare minimum stitches you can get away with and still measure a gauge…
This week I also learned three other unconnected and non-knitterly things: no matter how much you risk assess a simple trip to a local theatre, children will find new, interesting and hitherto unimagined ways to injure themselves.. that the tooth fairy accepts polite letters of explanation in lieu of an actual lost tooth…and that wrap-around tops are not for me. Roll on the end of term!