Thursday, November 20, 2008

Google Images now contains Life Magazine's vast photo archive. If you're old enough to remember the heyday of home delivered magazines, you will most certainly remember that glossy, oversized, highly visual catalog of each week's events. It was spectacular.

Buried in that archive are a nice set of knitting-related images, mostly from the 1930s and 1940s. Most of them are from three issues, a 1939 one on knitting for the British army, a 1941 how-to-knit issue, and a 1952 home/baby knitting article. The accompanying articles aren't in this archive, but the how-to and finished object pictures that formed the core are. There is also a smattering of celebrities at rest/with family pictures, some travelogue/news shots of women knitting abroad, and a couple of college girls knitting from the late '40s/ early '50s - the last time there was an on-campus knitting fad.

The 1941 how-to series pix are interesting because they show the pencil grip throwing style (even though some of the series pix are missing_. There are also at least one 1952 vintage how-to, showing Continental method:

And some finished objects

Here are some of the other shots:

But to me, the most interesting picture is that of this little bootie, from 1952. Although I prefer not to repost the pix of others, I think fair use here applies so you can see these side by side:

1952-bootie.jpeg bootie-6.jpg

The "Janes Booties" (at right) I often knit are one of those much loved, scribbled-on-an-envelope patterns passed hand to hand. The version I use was posted to the KnitList by Ann Kreckel in 1995. I did a step by step how-to for Ann's pattern in 2005. Extremely similar patterns have appeared in a letter to Threads Magazine, and in the 1999 Knitters Socks Socks Socks competition book. The Threads letter was printed in the 1991s, and was penned by an elderly lady who said she'd been knitting them since her girlhood. My guess is that the ur-source for this pattern might have been a magazine article or leaflet appearing sometime between 1900 and 1920.

I'm always on the lookout for earlier manifestations of Janes Booties so this shot grabbed my attention. The Life magazine bootie looks a bit squashed and shallow compared to my green bootie, but I can see that it shares basic construction with the pattern I use. First, the bottom looks to be a rectangle of garter stitch. The sides of the bootie look like more garter stitch picked up around the edge of the sole plate strip, then knit in the round. The top of the toe looks like it was worked flat, back and forth, culminating with the tube-knit ankle part, worked in the round on the ankle stitches plus those from the top of the foot. Eyelets form the holes for the tie string.

While the Life bootie is much less plump, with a shallow toe area and overall less boxy appearance (no garter stitch welts to form the sides), and ended off in a plain garter anklet rather than a rolled stockinette top, it was made the same way. I'd consider it a first cousin to Ann Kreckel's pattern. If anyone spots earlier incarnations of similarly constructed booties in historical sources, please let me know!

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Thursday, November 20, 2008 1:35:43 PM (GMT Standard Time, UTC+00:00)  #    Comments [2]  | 
Tuesday, May 08, 2007

Out web-walking again, I've stumbled across a treasure trove of books on spinning, weaving, and other textile arts. It includes historical and recent works on lacemaking, embroidery, tatting, knitting, crochet and some other less practiced crafts, as well as ethnographic material, periodicals, and academic papers. I'm sure I'm the last to find out about it, but I share the reference all the same.

This textile-related archive is maintained by the University of Arizona. Its collections are available on-line, with the individual works so distributed either aged out of copyright, or presented with the authors' permission. There are thousands of items - mostly geared to industry and manufacture, but with a healthy smattering of works detailing hand production. Scans are available as PDFs, with the larger books broken out into smaller segments of under 15MB. Not all are in English.

Among the works I found that are of greatest interest to me in specific are:

Whiting, Olive. Khaki Knitting Book, Allies Special Aid, 1917, 58 pages. PDF

This compendium of knitting patterns presents sweaters, wristlets, socks, scarves, mittens, hats, caps, and baby clothes intended in part for troops overseas during WWI, and for the comfort of refugee families displaced by the war. Patterns for knitting and crochet are both included. The socks shown mostly knit top-down, some have a gradually decreased instead of grafted toe. Some of the socks are worked on two needles and seamed. One pair in particular (marked as a pattern from the American Red Cross, p. 13) seems to include a written description of a grafted toe, but it does not name the technique. Directions are a bit more detailed than is usual for pre 1940 knitting booklets. Fewer than a quarter of the patterns are illustrated with finished item photos. Aside from a list of abbreviations in the front, there are no how-to or technique illustrations.

Nicoll, Maud Churchill. Knitting and Sewing. How to Make Seventy Useful Articles for Men in the Army and Navy, George H. Doran Company, New York, 1918, 209 pages. PDF

This book is a bit more detailed than the previous one. It also contains a rundown of standard troop knitting patterns - hats, mufflers, balaclavas (called helmets), mittens, socks and the like. Every project is illustrated either with a photo or a line drawing of the finished product. Instructions are written out in a fuller format than in the Khaki Knitting Book. It also has some valuable bits of instruction including a list of yarn substitutions, plus two full size color plates showing the wools used, identified by name; a small stitch dictionary section,

Of special note are some unusual mittens (including a mitten with truncated thumbs and index fingers - p.68), half-mittens - p. 77, "doddies" or mittens with an open thumb, p. 80, and double heavy mittens intended for seamen or mine sweepers hauling cables - p. 94). The grafting method of closing up sock toes is clearly described AND illustrated, but it is called "Swiss darning" (p.131). I've heard that term used for duplicate stitch embroidery on knitting, especially when the decorative stitches are sewn in rows mimicking actual knitting, rather than being stitched vertically, but I have never before seen it applied to actual grafting. The entire section on socks and stockings is particularly clear and useful. There are even a couple of crocheted and knit mens' ties in the sewing section.

Finally, the sewing section (about a quarter of the book) might be useful to people doing historical costuming or regimental re-creators who are looking to augment their kit. The one drawback is that most of the sewing patterns are predicated on Butterick printed patterns, and the schematics are not provided in the book. Among the offerings are money belts, a chamois leather body protector and waistcoat, various types of shirts and undergarments, pajamas made from heavy blanket fabric, and a book bag (like a messenger's bag).

Egenolf, Christian. Modelbuch aller art Nehewercks un Strickens, George Gilbers, 1880, 75 pages. Note: Reprint of 1527 book. PDF

Ostaus, Giovanni. La Vera Perfezione del Disegno [True Perfection in Design], 1561, 92 pages. Note: 1909 facsimile. PDF

These are two modelbooks of the 1500s. There are several others in the collection, but they are mostly books of needle lace designs. Ostaus also offers up mostly patterns for the various forms of needle lace, plus some patterns that can be adapted to free-hand (as opposed to counted) embroidery, plus a large section of allegorical plates to inspire stitched medallions, slips, and cabinets. One thing I've always liked are some of his negative/positive patterns. These are designs that if laid out on a strip of thin leather or paper and cut can be separated longitudinally into two identical pieces. There are several of these scattered around the middle of the book.

ostaus-1.gif

Starting around page 73 or so there is a section of graphed patterns, a number of which landed in my New Carolingian Modelbook collection.

The Egenolf book also is mostly line drawing suitable for freehand embroidery. Some are pretty cluttered, but some are very graceful. The oak border on p. 32 has always been one of my favorites. There's one plate with a counted pattern, on p. 72.

---. Priscilla Cotton Knitting Book, Priscilla Publishing Co., 51 pages. PDF1, PDF2, PDF3, PDF4, PDF5, PDF6.

This books is obviously a seminal source behind many of today's reference books on knitting technique and patterns. Notation is sparse and "antique" with n (narrow) being used for k2tog, and o for yarn over, and other oddities. There's a fair bit of circular doily knitting, but it is of the knit radially and seamed variety seen also in Abbey's Knitting Lace. In fact many of the doilies appearing in Abbey appear to have been adapted directly from this work. You'll also recognize many Walker treasury edging patterns in these pages.

In addition to the stitch texture and lacy knitting sections, there's a bit on "cameo knitting" which appears to be another name for stranding (in PDF2). The section on filet knitting (in PDF3) is relatively extensive, and clearly shows both the strengths and weaknesses of this rarely described style.

---. Priscilla Irish Crochet Book No. 2, Priscilla Publishing Co., 52 pages. PDF1, PDF2, PDF3, PDF4, PDF5, PDF6, PDF7, PDF8.

This has got to be the single most complete and eye-popping source I've ever seen on Irish crochet. Not only does this contain an amazing amount of eye candy, it also gives directions on how to create it, offering up pattern descriptions for the individual motifs, the joining brides and grounds, and the working method of fastening the motifs to a temporary backing while the grounds are being worked.

---. Egyptisch Vlechtwerk [Sprang], Holkema & Warendorf, 36 pages.PDF1, PDF2

As an example of the depth of the collection, here's a work on Sprang, one of the lesser known fiber manipulation crafts sometimes mistaken for early knitting. It is in Dutch and appears to be from before WWI, but it is illustrated with photos of finished pieces and works in progress.

These are just a small sample of the hundreds of works available at the University's website. Again, most are on the industrial aspects of the textile arts, from fiber acquisition (including sericulture and sheep raising) through spinning, and weaving, but a goodly number are of direct interest to hand-crafters. Topic lists exist for knitting, crochet, embroidery, cross stitch, lace, tatting, and a multitude of other subjects. Support this valuable resource by visiting and using it. I know I'll be combing through here for years...

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Tuesday, May 08, 2007 12:39:15 PM (GMT Standard Time, UTC+00:00)  #    Comments [4]  | 
Saturday, February 03, 2007

Rebecca over at Pocahontas County Fare points to a fabulous link - a project to outfit all participants at the NATO summit held in Riga with traditional Latvian hand-knit mittens. The conference took place back in November. Rachel details how to download and view the entire collection. I just provide boring links to some of my favorites appearing in the web-accessible galleries of regional styles.

What's best about the galleries of the mittens at the Riga conference site is that each and every one of the over 5,000 pairs is photographed in detail at high resolution. High enough in fact to mine them for their colorwork patterning. Also high enough to spot some continuities of design.

Some of the mittens shown sport patterns that are extremely similar to those appearing in embroidery modelbooks from the 1500s and early 1600s:

http://www.rigasummit.lv/en/id/galleryin/nid/119/gid/3518/
http://www.rigasummit.lv/en/id/galleryin/nid/119/gid/3507/
http://www.rigasummit.lv/en/id/galleryin/nid/117/gid/3230/
http://www.rigasummit.lv/en/id/galleryin/nid/117/gid/3240/
http://www.rigasummit.lv/en/id/galleryin/nid/117/gid/3092/
http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2954/
http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2944/
http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2933/
http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2904/
http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2883/
http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2869/
http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2872/
http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2811/
http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2801/
http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2793/
http://www.rigasummit.lv/en/id/galleryin/nid/118/gid/3470/
http://www.rigasummit.lv/en/id/galleryin/nid/118/gid/3458/
http://www.rigasummit.lv/en/id/galleryin/nid/118/gid/3411/
http://www.rigasummit.lv/en/id/galleryin/nid/118/gid/3382/

Others evoke later eras.

http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2833/
http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2804/
http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2812/
http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2814/
http://www.rigasummit.lv/en/id/galleryin/nid/118/gid/3326/

And some are timeless - with patterns that evoke mosaics or other forms appearing in every era since people first figured out that regular geometrics were pleasing to look at:

http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2810/
http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2799/
http://www.rigasummit.lv/en/id/galleryin/nid/115/gid/2790/
http://www.rigasummit.lv/en/id/galleryin/nid/118/gid/3476/
http://www.rigasummit.lv/en/id/galleryin/nid/118/gid/3427/
http://www.rigasummit.lv/en/id/galleryin/nid/118/gid/3433/
http://www.rigasummit.lv/en/id/galleryin/nid/114/gid/2745/

I'm dazzled. I could look at these for hours (and I already have). Special thanks to Rebecca for posting the link, and to the unknown person who wandered over here from there, leaving the ant-trail I followed back to her site out of curiosity.








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Saturday, February 03, 2007 4:14:47 PM (GMT Standard Time, UTC+00:00)  #    Comments [1]  | 
Wednesday, October 18, 2006

As promised, here is my experimental foray at the wrapping technique used on the 18th Century Spanish hat from the V&A's photo collection.

wraphat-1.jpg

I tried out three different methods of making the floats. First, this is the second swatch. My initial attempt was working this in the flat. It was a mess. So I switched to working in the round, on the principle that the inspiring hat was probably knit in the round.

The largest section on the bottom (green arrow in the photo) was done using Tamar's suggested method - bringing the yarn to the front of the work, slipping the stitches to be wrapped purlwise, moving the yarn to the back of the work, returning the slipped stitches to the left hand needle and then knitting them off. You can see that it works nicely, but has a tendency to distort the stitch immediately preceding the wrapped segment. This is most evident in the columns of wraps, in which the same stitches are wrapped on several succeeding rows to produce a vertical column. It's still there on the area where I shifted the wraps to produce a diagonal, but it is less evident.

The second section (red arrow) was done using the method I first posited - moving the yarn to the back of the work, slipping the stitches purlwise, bringing the yarn to the front of the work, returning the slipped stitches to the left hand needle, tucking the working yarn behind again, and then knitting off the formerly slipped stitches. It has slightly different weaknesses than Tamar's method. In this case, I seem to be more prone to drawing the loop too tightly, and there is also a slight distortion of the stitch immediately preceding the wrapped section. It does however look just a little bit neater to me.

The third method (blue arrow) was one that came to me while I was fiddling with the other two. I worked those final two rows of wraps not as wraps, but in two passes. On the first pass I brought the yarn to the front, slipped the stitches that I wanted to "wrap", returned the yarn to the back, slipped the plain stitches after them, brought the yarn to the front, slipped the "wrap" stitches, returned the yarn to the back, and slipped the plain all the way around. This laid one continuous thread in a single loop around my work. Then I knitted off the entire row. You can see I had time to do this twice. This does make a neater line than the wrapped methods, but has other drawbacks. First and foremost - it's hard to keep an even tension on the continuous loop as it's carried around the entire piece. Second, having a single continuous loop limits knitting's natural elasticity. While this might be a useful technique to help maintain tightness in areas you don't want to stretch out (like on the cuffs of an all-cotton sweater), I don't think it is optimal for a hat.

Now going back and looking at the V&A picture again, it does look like there's slight distortion of the stitches immediately before the wraps, and the wraps do look more like the slightly bowed ones produced by both Tamar's and my posited methods. Without seeing the artifact itself, it's hard to say which of the two was used. I lean to mine, just because I can control the distortion a little bit better with it than with hers, but both are functionally equivalent, and I'd say both are possible use case candidates that can't be entirely ruled out without actually seeing the artifact's front and back, both close-up.

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Wednesday, October 18, 2006 12:20:23 PM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Tuesday, October 17, 2006

Back to that red Spanish hat. Several people wrote in with comments that deserve further testing.

First, Nancy and Jean suggested that it might have been done with two-end knitting or Tvåändsstickning (also called Twined Knitting). I haven't played with this technique yet, but from the appearance of the side sporting the standings in this Knitty article, I have my doubts on its application for this purpose. It looks like each individual stitch in this technique bears a wrap. The Spanish Hat clearly shows longer floats that wrap several stitches together. The twined/two-end knitting technique does look very interesting, and could clearly be used not only to make the double thick fabric for which it is justly famed, but might also have additional decorative implications if the twisting was shunted from back to front and vice versa, following a simple geometric pattern. But I don't think it was employed on this hat.

Tamar (of the infinite needlework library) also wrote with another simpler suggestion. She was able to get a closer look at the bottom edge of the hat in the V&A's picture. She says:

Especially at the bottom of the picture on the V&A site,
you can see the wrap yarn coming directly from the bottom
of the knit stitch to the right. So the wrap goes
immediately in front of a group of stitches.

I haven't tested it, but perhaps the wrap is done first
around the previous row's stitches, and then they are
knitted.

This makes sense, and would probably be a bit less fiddly than knitting and then the wrapping in the same row method I posited on Friday. I'll test out both wrapping methods, possibly tonight, to see. If all goes well, I'll put down my lace shawl and do up a quick hat pattern using my findings. It would be highly cool to reverse engineer a knitting technique of the 1700s, and rescue it from historical obscurity!

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Tuesday, October 17, 2006 12:04:09 PM (GMT Standard Time, UTC+00:00)  #    Comments [1]  | 
Monday, October 16, 2006

I am having a fascinating time this weekend noodling out Russian language pages on knitting and crochet, and trying to translate some terms. I started doing this because I had (dimly) remembered some Russian language stitch dictionary pages that offered up a slightly different collection of texture patterns from those that commonly seen in English language books. I remembered some that employed ornamental floats, so I wanted to find them again. Now bear in mind, I don't speak or read a word of that language. My assumptions here are going to range from reasonable to laughable. But I'm having fun none the less.

I started my search with the one English character transliteration of a Russian word that I did know from prior searches. I have no idea how the original is pronounced, but in what looks to be a one for one letter swap, Latin alphabet for Cyrillic, uzor (plural uzori) appears to mean stitch or pattern.

I used that term to do a Google image search. When I found an image that was interesting, I clicked through to the parent page and followed some of the in-page links there. Along the way I kept a notepad file open, gluing in copied terms in both the original Russian, and the Latinized spellings frequently used in Web page URLs.

Here are some of them, along with my wild-ass guesses on what they might mean.

узоры - uzori or uzory - patterns (possibly also stitch designs)
петель - stitches
Вязание - knitting, probably also crochet work
Вязание крючком - Crochet
Носки - socks
Шапки - hats or caps
Салфетки - table linens, including doilies and runners, but also napkins and cloths
Схема - chart or diagram
Мотивы - motifs?

Along the way, I found a couple of interesting patterns. Here's one for a lace doily. Its pattern page presents some useful visuals, including starting a doily center using the crocheted circle method, blocking hints, and (of course) the chart for the piece itself.

Now I had a second problem. I can knit from a chart in any language, provided I have the symbol key. What do the chart symbols mean? It's hard to cut and paste the chart terms into on line Russian-English dictionaries (this was the best one for my purposes) because for the most part, the terms are there as images, not text. Sadly though Russian knitting symbol interpretation seems to be just as jumbled as Western charting, with different sources using either different symbols to mean the same thing, or using the same symbols but employing them differently. Looking over the lace chart for the doily above, I suspect that straight vertical lines are knits, the little arrows facing left are knit through the back of the loop (ktbl). U must be a YO (perhaps U with the 2 in it is a double yarn over), and downward facing Vs are decreases (numbers in the arms of the V indicate the number of stitches to be decreased). Obviously lots of experimentation is in order here to confirm (or disprove) these guesses.

Although I was hunting for knitting, most of what I found were charts for crochet. The crochet notation looks a bit more standard. Some of it seems to be similar to the notation found in Japanese crochet patterns. For the most part they look to be easily interpreted even if one doesn't read Russian. Here are a few of the ones I liked best.

  • A crocheted spiral doily
  • An interesting crocheted stole or table runner
  • A stole featuring a very mesh-like crocheted structure (click on the Схема link to get the charts)
  • A cushion pattern that could be adapted into a very nice lace scarf
  • Yet another doily, this one that makes subtle use of some pineapple style features, but does so without being "yet another piece of pineapple crochet"
  • Another small round piece. I like the contrast between the densely worked areas and the open net-line areas.
  • A spectacular collection of small round, square, and other shape motifs. (I am not quite sure how Russian copyright law works but be aware that other pages on this site offer what look to be scans of full books)

And finally I found Russian language stitch patterns that do look like they exhibit some kind of wrapping.

  • This one looks like the wrapping happens on the diagonal Perhaps this was done by reaching down a row or two and picking up a long loop, then knitting them off together with the current stitch.
  • Photographed sideways, this one has a combo of horizontal wraps that gather the stitches enough to make a smocked effect.
  • And this one clearly has stitches picked up several rows below. The chart is a bit confusing because it appears to be written for the flat, showing alternating rows of knitting and purling to produce the reverse stockinette texture. Most charts I've seen stick to "as seen from the front side" logic.

But I never found the dimly remembered patterns that set me off on this quest in the first place.

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Monday, October 16, 2006 12:20:49 PM (GMT Standard Time, UTC+00:00)  #    Comments [3]  | 
Friday, October 13, 2006

A person posting on one of the historical knitting lists asked a question yesterday about this 18th century Spanish knitted cap. I've poked around the Victoria and Albert Museum's on line photo collection, but I hadn't taken the time to zoom in and look closely at this particular item.

At first glance the cap appears to be covered with knit-purl texture patterning, but if you zoom in (and especially if you have the ability to get an even closer look at the image) you'll see that the texture isn't formed by knits and purls. Instead, the design is made up of some sort of stranding that floats over a stockinette background. The question was about how this might have been done. Unfortunately, we can't see the back of the work. So I got to thinking...

The most obvious way would be for someone to work up a plain stockinette cap, then hand-stitch the floats over counted stitches, to produce a diapered or pattern darned effect. This would certainly work, but lacks elegance. If I were making a hat like this, I'd much rather do the decoration at the same time as the base knitting, rather than going back later.

This leaves two methods - some sort of in-row wrapping, or slipping stitches with the yarn in front of the work.

Let's look at slipping first. If you knit a row, then holding yarn in front, slip several stitches, and then resume knitting, you make a fabric that has a base row of normal height, then a distended area where stitches were slipped. If you continue to do this on subsequent rows without rows of intervening plain knit, you pull those stretched stitches up even further, creating a vertical column with a grossly distorted base structure. It doesn't look like the knitter of this cap made the floats by slipping with yarn in front because if you zoom in and examine the long vertical bars of the ornamentation, a float seems to happens on every row, and there is no evidence of vertical distortion.

This leaves the wrap method. Wrapping stitches for ornamental effect isn't widely practiced any more although it still survives almost as a curiosity in some cotton knitting. You can see an example of wrapped stitches in the cover pattern on the Lewis Knitting Counterpanes book published by Taunton Press. In this case the wrapping is pulled very tightly to magnify the gathered effect of the pattern. The wraps are peeking out beneath the bellies of the scallops:

kc.jpg

I've also seen texture designs in European pattern collections that use wrapped stitches. There are a couple of the tight-wraps-as-gathers type at the end of Omas Strickgeheimnisse, a German-language knitting texture pattern dictionary. I thought there was at least one in the Bauerliches Stricken series (another 3-volume German stitch dictionary), but thumbing through, I can't find it now. Some of the on-line Russian language stitch collections also show wrapped stitches I found these by searching for УЗОРЫ which may mean pattern or stitch in Russian. It also seems to transliterate to the letters "uzori or uzor" in Western alphabets, which are also good starting points for searches. (No I don't speak or read Russian, I've stumbled across this bit of trivia while web-walking.) I don't have time this morning to fish up the citations for these dimly remembered Russian texture patterns. I'll have to leave that for tomorrow.

However, none of the contemporary sources for these wrapped stitches employ them in the way I envision that the Red Cap Knitter did.

I don't think it would be difficult to do this, just a bit fiddly. I like fiddly. Remember that this is a thought experiment. I haven't tried the method out yet. Perhaps over the weekend I'll have time to do so. Here goes.

Let's say you want to lay a ladder across four stitches. You knit the four as usual. Then you take your yarn and move it to the back of the work. You transfer four stitches from your right hand needle back to the left hand needle, then you move the yarn strand to the front of the work, laying it in the "ditch" between the first stitch to be wrapped and the ones that came before it. Then you slip those four stitches back to the right hand needle. You draw the yarn strand across the front of the work over the four, then return it to the back. You have now "lassoed" your four stitches. Give the thing a slight tug to maintain tension, and knit the next stitch as usual.

Now all you need is a suitable graph, and you're set. (Credit: This particular graph has been researched by SCA pal Carol.)


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Friday, October 13, 2006 12:25:14 PM (GMT Standard Time, UTC+00:00)  #    Comments [1]  | 
Tuesday, September 12, 2006

Small progress on several fronts. First, I've finished the knitting on my red doily. I have done the ceremonial breaking off of the yarn, and am up to the grafting part. I will begin that tonight, possibly even documenting it with photos, if I can find a willing volunteer photographer in the house. I will also try to get to the blocking of both doilies this weekend, although pre-holiday preparations and work may intrude.

On the website front, our resident technical wizard is fine-tuning some aspects of the site and boldly slaying bugs. Comments should now be working properly. I have put some pointers on the old String site's most popular pages, redirecting folk over here, so with luck some of the people who link to those pages will notice and make corrections before those pages go dead. I've also started to answer the backlog of questions on the advice board, add more of this season's yarns to the database, and to learn Wiki syntax. I'm plotting out the KnitWiki structure right now, diagramming hierarchies and interrelationships on paper. Suggestions for areas not to miss, or for how content would be most usefully organized are most welcome.

In addition to all this stuff going on (plus heavy deadline pressure at work) I still haven't worked the lace bug out of my system. I'm not quite sure what will be next up. I've got a ball of lace-weight linen in a natural ecru. It's two-ply construction, with a small bit of thick/thin and linen slubbing going on. I got it at the one Maryland Sheep & Wool festival that I went to, circa 1996. For solid sections, it looks best on 1.75 or 2mm needles, so I suspect for a bit lighter, lacier look I'll move up a size or two. Not quite sure of my yardage, but whatever it is, that's all there is. I'm thinking of messing around and making something up, combining lacy stitches from Hither and Yon (two of my favorite sources), adding an edging, and ending up with something wearable. Perhaps a medium-sized rectangular or square scarf, able to be worn as a dress accessory (there's not enough there for a huge shawl). One minor complication that should work itself out - I have misplaced my copy of Heirloom Knitting. I used it last when I was selecting the edging for the second red doily. The one I used came from its pages.

Or I might do Eunny Jang's Print o' the Wave Stole. She's already worked out a simple layout using a traditional Shetland pattern and companion edging. The Print o' the Wave design itself is visually complex, but very easy to work, with a logical 12-row repeat. Eunny has also done an excellent tutorial on lace shawl construction. The series goes on from the one on shawl construction (links are on the right hand side of her page) and includes a highly useful round-up of lace-knitting cast on techniques.

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Tuesday, September 12, 2006 12:11:44 PM (GMT Standard Time, UTC+00:00)  #    Comments [1]  | 
Saturday, September 09, 2006

Quick aside: I don't know about you, but a small window onto a whole new universe of costume options just opened up for me and mine today. Too funny!

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Saturday, September 09, 2006 10:47:09 PM (GMT Standard Time, UTC+00:00)  #    Comments [1]  | 

[Repost of material originally appearing on 25 August 2006]


Like socks? Ever hear of the socks shown at the Great Exhibition of 1851? No? You're in luck. The Victoria and Albert Museum never forgets. Their collections are now searchable on-line. A bit of poking around brings up this set of images, socks from that very exhibition, when all things Scots and the latest advances in machine knitting were the rage.

Now don't poo-poo machine knitting. Sock machines of that time required quite a bit of hand manipulation. How about these socks - stockinette, with some openwork, finished off with hand embroidery, from the early 1840s?

Socks too mundane? Contemplate Sara Ann Cunliffe's exquisite cotton lace baby gown, knit sometime in the late 1800s.

White cotton lace knitting too late for you? How about a brilliant 17th century silk and silver brocade jacket, with a thumbnail opinion that it was probably knit on needles and not a frame. What do you think. Cut and steeked? I think so. Even at 17 stitches per inch, I'd love to make one...

Looking for wool? How about an early 1800s baby ensemble that looks like it inspired Debbie Bliss.

There's 19th century bead knitting, too. And (amazing to me) 18th century beaded knitting! Not to mention hand-knitted lace doilies from the Azores (1875-1900); 16th century liturgical gloves, a Shetland shawl to die for (19th century), and lots of other stuff from every era since knitting impinged on Western consciousness.

Of course, if you prefer stitching over knitting, especially Blackwork or monochrome embroidery, there's some well-known examples of that there, too. Also samplers showing motifs straight from early modelbooks. Even an Egyptian piece from the 14th-16th century I've never seen before. I'm in heaven.

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Saturday, September 09, 2006 1:54:20 PM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 

[Repost of material originally appearing 10 August 2006]

My old friend Marian pointed me at a fascinating Web-based resource. The Web Gallery of Art. It's an on-line (sort of) searchable collection of art images from pre-1800. I'm in the middle of thumbing my way through Renaissance-era portraiture, in part to plain old enjoy it, but also with an eye to the embroidery used on clothing.

Now the few folk who visit here may know that in addition to knitting, I'm a sucker for embroidery. Especially counted embroidery from before 1600. My favorite family of styles is often lumped under the term "blackwork," and had a popularity run spanning about 100 years or so, until it morphed into other things and/or fell out of fashion for upper-class clothing, sometime between 1600 and 1630. It did however live on through its descendants (most familiarly some of the bandwork common on early samplers) and peasant embroideries of several regions Through these descendants some of blackwork's substyles have enjoyed little renaissances in the centuries since.

So. What is blackwork?

Not to be facetious, it's monochrome embroidery worked in black thread on white ground. Most but not all of the time. Non-black or multiple colors were occasionally used. Most people think of it as counted work - embroidery that uses the threads of the ground fabric as a foundation "graph".. Again, most but not all of the time. Some sub styles are clearly worked on the count. Others may have been, and still others are clearly freehand drawn. Some people are under the impression that there are clearly defined national or regional substyles, with English work being distinct from say German or Italian. Again, that's partly but not entirely true. If you're unfamiliar with the basics, The Skinner Sisters website has an excellent survey of Blackwork styles available on line.

Here's one of the most famous examples of band style blackwork, worked on the count. It's seen on the sleeves of Jane Seymour, as painted by Holbein in 1536 (you can click on the images in the linked pages to display them in greater detail). Very linear, clearly done both two-sided and on the count in a stitch that today goes by several names - Holbein Stitch, Spanish Stitch, Double Running Stitch. Harder to see (peeking out just above the gold and red units at the edge of the bodice - is a tiny line of blackwork on Catherine of Aragon, painted circa 1525-7 by Lucas Horenbout. Catherine is often said to have introduced the fashion for blackwork to the English court.

Here are heavier outlines, but still very geometric, suggesting a counted ground to me: Pierfrancesco di Jacopo's Portrait of a Lady, dated to 1530-1535. This one, too - Gentleman in Adoratio nby Giovanni Battista Moroni, dated 1560. Moroni's Gentleman wears a style that I associate more with English strapwork than embroidery of Northern Italy. To some extent, these styles traveled via printed pattern books and were international.

These suggest work on the count, but possibly in satin stitch rather than double running or another linear stitch. Bernadino Luini's Portrait of a Lady, 1525. (See. Not all early blackwork is double running!). Also this one - Romanino's Portrait of a Man, 1516-1519. This is the picture that Marian alerted me to, starting this whole rumination. The regularity of the piece leads me to think "counted." The angles of the ends of the leaves makes me think "satin stitch" rather than a solid filling done in another method.

This one - Portrait of a Venetian Man by Jan van Scorel (1520) looks very much like cross stitch is used to form the stitched repeat. It's also done in red. There is no zoomable detail page for it on the website.

Of the most famous types is the inhabited style, in which outlines were infilled with all-over patterns, done on the count. My own forever project is an example of this type, although it's my own composition and not a repro of a historical piece:



Bettes' 1585-90 portrait of Elizabeth shows sleeves that are (at least in part) done in the inhabited style (Link via the Tudor Portraits site)

Yet another sub-style, again outlines done freehand (or drawn) rather than on the count, and accented with metal thread work. The most famous again is in a portrait by Holbein - Catherine Howard's cuffs, 1541. Here's another example of freehand outlines but without the infilling geometrics: the shoulder area of Hillard's portrait of Elizabeth I, 1575-6. Some examples of this subgroup use stippling (tiny scattered stitches) almost like pen-done line shading to provide textural or shadowed interest, or include embellishments like seed beads, pearls, or spangles.

More blackwork using colored threads? Here's Caterina van Hemessen's self portrait, 1548. Although tough to see, I'm pretty sure there are red cuffs and collar bands there. Red was the most popular color used after black. (I wish I could see her coif better)

There were other styles, too. All confusingly lumped together under the modern term "blackwork."

Finally, there are portraits that show things that look vaguely familiar, but not in enough detail to be sure they are related.
  • Band stitching, done in gold, with details too small to determine whether it was worked on the count - Jan Sanders van Hemessen's Woman Wearing Gold, (undated, but the artist lived 1500-1556).
  • A small collar worn by a man. Looks vaguely blackwork like, but detail isn't very clear. Foschi's Portrait of a Man (1530s)
  • Matching(?) bands on chemises of both husband and wife. Lorenzo Lotto, 1523. Possibly freehand.
  • More red blackwork? This time possibly on the collar of Charles V's undershirt, in a piece by Bernaert van Orley, 1519-1520.
  • Blackwork on edge of chemise? It's so light as to be doubtful. Portrait of Jacquemyne Buuck, by Pieter Pourbus, dated 1551
  • An all-over design produced by counted black stitching, or some sort of brocade? Hard to tell. Ambrogio de Predis Portrait of a man, dated 1500

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Saturday, September 09, 2006 1:08:04 PM (GMT Standard Time, UTC+00:00)  #    Comments [3]  | 
Friday, September 08, 2006

[Repost of material originally posted on 16 June 2006]

No, not a knitting-related math question (for a change), but an idle query. Check out this - a UK art student has knit hersef a car. I hope she gets a good grade on the project!

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Friday, September 08, 2006 11:16:12 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Wednesday, August 24, 2005
Yesterday's post got me thinking. (Always dangerous.)?

There must be tasks we wish our knitting or crocheting tools could do, either as tweaks to existing products, or as entirely new items. I've come up with several minor ones over the years. In the spirit of Anne L. MacDonald* At the risk of compromising patentability or re-inventing the wheel, I invite people to share ideas, and prime the pump with some of my own.

Counting Beads



I wrote about these back in my Stupid Stitch Marker Tricks post. This is intended to be an aid for people who are working row count repeats or those annoying "Decrease two stitches every sixth row" directions. It's a chain with links large enough to admit a knitting needle, and two different color beads, one at each end. On the first row, the knitter puts the needle into the link closest to the green bead. On the next row (or next right side row if working in the flat), the knitter advances the needle to the next link, and so on. If the links are used to count pairs of rows, a six-link chain could count 12.

Inch-Striped DPNs

I know I've seen photos of WWII-vintage DPNs that were striped, but I don't know if they were striped off in exact inch measurements (or 2 cm for our metric friends). If I had a set of striped DPNs I could use them to measure off length as I knit, without fumbling around for a tape measure or ruler.

Two-Tone DPNs

This idea could be used in combo with the stripes, above. I wrote about this one in the post remarking on a really bad answer offered up by Lion Brand. If one had a set of similarly colored DPNs that had a different color marking one end of each needle, one could use that color to track where rounds began and ended. (Yes, I know most people look for the tail, but sometimes it can be less evident, like when you're knitting a flat motif center out.)? The knitter would knit all DPNs with the same color end, EXCEPT for the one that starts off the round. That one would be employed with the contrasting color first. If we used red and green again, we'd knit the first needle with the green end, so that the red end was rightmost in the work. All successive needles would be knit with the red end. As the knitter traveled around the work he or she would know that when a red end presented itself, that was Needle #1.

Long, Thin Sticky Notes

This one is left over from my stitching days, although I sometimes do use sticky notes to mark my place on knitting charts. I want a pad of sticky notes that's six inches wide and less than an inch deep. The sticky should be along the long edge, not at the tab end. If it had? 10 to the inch rules on it with prominent decads, so much the better. I want to use it to mark off the active row of an active knitting or stitching chart. Having rules on the thing would help me keep my place on the chart and if the chart's scale was 10 to the inch - allow me to do "speed counting."

Anyone have any other innovative ideas for working tools, storage ideas, charting aids, or other new thoughts for here-to-for unknown tools or tweaks to existing ones?

*Anne L. MacDonald is best known for her book No Idle Hands:? The Social History of American Knitting, but she also wrote Feminine Ingenuity: How Women Inventors Changed America.

Wednesday, August 24, 2005 1:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Tuesday, August 09, 2005
Here's a curious piece that came to me from the same grandparents as my fly bowl (I've been told that it's actually a bee dish, not a fly bowl).



This is an original pen and ink line drawing that appears to depict a piece of stumpwork embroidery. It bears a sigil of the letters HCs (possibly CCS) but has no other signature on it. It hung in my grandmother's library for years, and always held a certain fascination for me when I was a kid. At that time I didn't realize the embroidery connection. At seven I liked the whimsical little animals in the corners, and the fact the central figure was a queen. Anecdotal family tales say the title of this piece is "Queen Esther."

Years later when I began embroidering in earnest (started on that path by the same grandmother), I stumbled across the stumpwork style and recognized the drawing for what it was. I'm torn. I'm not exactly sure if this is a copy of a piece displayed in a museum, or if it's a freehand drawing inspired by that style. I rather suspect the former. There is supposed to be a stumpwork piece depicting Queen Esther n the collection of the Massachusetts Historical Society, but I haven't seen a picture of it, so I can't say if my pen and ink drawing shows that particular artifact.

Stumpwork (raised or embossed embroidery) was popular in the 1600s, tailing off into the early 1700s. It has enjoyed a couple of minor revivals since. It's characterized by three dimensional effects, and is gaining interest right now, in part fueled by the popularity of ribbon embroidery and Brazilian embroidery, two other more modern styles that also employ three dimensional effects. There are also traditional forms of padded stitching practiced in Thailand and Cambodia that also use heavy stitching on separately embroidered motifs that are affixed to a ground over stuffing.

In stumpwork, much of the stitching is done over raised grounds, separately stitched and sewn onto a backing fabric. These motifs and slips are stuffed underneath with batting or even little wooden forms. Additional raised effect is provided by the inclusion of detached stitching, much of it based on detached buttonhole, hollie point, or other "free" lace stitches. On some pieces, further embellishment is provided by the liberal use of gold and silver threads, sequins, spangles and even beads. Some say that the little wooden forms used for stuffing are the "stumps" that gave the work its ungraceful name, others say that the name is a corruption of the word stamp, as many of the faces of the figures were printed by stamping rather than being stitched. It's heavy and encrusted looking except in its very lightest manifestations, not well suited for wearing. Instead it was employed mostly for decor - panels, mirror surrounds, book covers, cushions, and most especially small chests (cabinets) that were covered inside and out with the stitching.
Creating a cabinet was a crowning glory for the amateur needleworker of the late 1600s. They were expensive to do, required better than average skill, and represented a sort of needlework "graduation" for teens just about done with the course of informal study that passed for most girls' educations at that time.

There are several articles on stumpwork available elsewhere on the web, but precious few pictures of historical examples: This one has a useful bibliography, Janet Davies has some photos of artifacts that show the dimensionality of the stitching on her stumpwork and raised Elizabethan embroidery pages, CameoRoze also offers up an article on the modern revival of the style. In a Minute Ago also offers up a nice round-up of stumpwork and related styles as they are practiced today.

In the mean time my Not Embroidery hangs in my bedroom, where it complements a larger blackwork panel.
Tuesday, August 09, 2005 1:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Tuesday, July 26, 2005
I was out webwalking again and came upon this:



It's a report of a bit of performance art/industrial control/knitting that boggles the mind. The artist is directing the production of a knit US flag, using aluminum street light poles as needles and giant strips of felt for yarn. The actual knitting was performed by two John Deere excavators, handled with amazing delicacy and precision. The image is from a story on iBerkshires.com, reporting about the event which took place at the Massachusetts Museum of Contemporary Art.

The artist in question is David Cole. This isn't the first exploration of knitting (giant or human scale) he's done. He's also done a previous bit of oversize knitting with construction machinery, working up fiberglass insulation into a giant slouchy teddy bear. His other works can be seen at his website.

I can't say that the gauge of the flag was in fact 1 st=3 feet, but one has to admit that it's pretty huge. I'm especially boggled at the thought of someone deconstructing the movements to produce a knitting stitch, then reproducing that series behavior using the controls of the excavators. I'd love to applaud not only Mr. Cole (for his imagination in thinking up this concept), but also the equipment operators. "Knit a flag" is an incredible thing to put on one's equipment resume, and is quite a testament to their skill.
Tuesday, July 26, 2005 1:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Friday, March 11, 2005
An adorable link, found courtesy of someone who posted it in a LiveJournal knitting community. The thing is in Japanese, but you can enjoy the pictures and objects without reading along.

From what I can gather using the Google language tools, while most of these items are crocheted, the strawberry shortcake (minus the berries) is machine knit. The fruit trifle tart is a box that opens up. The pear purse is trimmed with metallic beads. The chocolates are fridge magnets, and the artist suggests using the cherry topped ice cream bon-bons, the cup of cocoa and the hamburger as pincushions. The moon pie looking thing (two cookies with white filling) hides a tape measure, and the component pieces of the hamburger can be used as coasters - except for the sunny side up egg, which the author notes is too bumpy in the center for stability.

Very clever.


Friday, March 11, 2005 12:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Tuesday, February 15, 2005
Japanese Patterns On-Line

Veronik from Canada was kind enough to send us a link to a site offering Japanese patterns on-line. She points out that the most recent collections are for sale, but the earlier patterns are free. She says that these aren't the most fashionable of the ones out there, but they're interesting and should be useful for illustrating what graphical patterns look like.

Go to this page. (Don't worry if the characters display as gibberish in English.)

Select the pattern you want to view by clicking on one of the thumbnail photos.

A page will appear that contains an enlarged photo. The writing next to the picture of the yarn balls will give yarn and yardage info (clicking on the link will usually take you to a page to buy the yarn). Ditto for the picture of the needle (needle size in mm, plus a link to a purchase page); and the button (notions for this piece, if any). The picture of the little page at the bottom of the stack is the one you want. Take a deep breath, and click on the linked text next to it. You'll be asked to download the Acrobat file containing the pattern page (some but not all of these PDFs produce download errors on my machine).

Ahh. I can sense everyone looking at the result and hyperventilating...

It's not that hard to interpret. Really.

The garment is presented in one size (a weakness of Japanese patterns) as a series of annotated schematics. Cast on numbers are given, along with lengths to work in pattern. Decreases and increases are described as a series of numbers (like 3-1-2, meaning every third row, decrease (or increase) one stitch. Do this twice). Texture and colorwork patterns are shown graphed. Other info is presented on the charts, like stitch counts both before and after major shaping has occurred; circumferences and depths, both in rows and centimeters, and the spots in which the graphed patterns or other special features are to commence.

Now there are limitations here to be sure. Not offering a range of sizes isn't acceptable in the US. The format does assume far more knowledge of knitting than do text-based instructions. Most US knitters would find working exclusively from graphical patterns to be difficult. But the idea of using the schematics to present additional shaping or production notes is a good one, and one I'd like to see used more often to supplement written instructions.

Worth of Certifications

Lots of people wrote both on and off-list to say that I'm very wrong about certifications; that they really got a lot out of [insert name of program]. But lots of others wrote to say that they weren't interested in accumulating merit badges, and didn't see the value of a formal course of study. Still others wrote to say that they'd only take knitting classes from certified instructors; or conversely that they didn't care what piece of paper the person did or did not have - so long as they imparted accurate info in a cogent, helpful, and useful manner.

I'm of the "We don't need no stinking badges" mentality myself, but hey. Opinions, learning styles, and teaching styles differ. I respect yours if you do me the favor of respecting mine. (Notes that start out with a variant of "Jane, you ignorant slut" will be cheerfully deleted at no extra charge.)

Project Progress

Socks continue. One looks much like the other, so photos at this point would be redundant.

I've also finally been able to overcome Paypal's obstinacy and pay for a copy of Rogue. I'm reading through it right now and am very impressed with the thing's completeness (it's 19 pages long!). I planning on how to compensate for the gauge difference, incorporate the cardigan modifications (available onthe Rogue home page cited above, via the "mods" link at the bottom of that page), and possibly even re-work the Dragon Skin texture pattern for use with it.

At the same time I'm thinking of taking another graphed pattern from my book, and adapting it for use as a double-sided double-knit scarf. All in my copious spare time, of course....
Tuesday, February 15, 2005 12:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Wednesday, February 09, 2005
In late breaking news, Elizabeth from Norway has provided us with a translation of the blurb under the knitted bicycle picture I mentioned yesterday. Here are her words:

Here is a translation of the blurb under the picture:

"I haven't finished anything I started last week. On the other hand, I have finished knitting a bicycle.

It ended up with balloon tires, and it is probably pretty heavy to pedal, especially since I took the pictures before putting on the chain (which by the way is not knit, but crocheted!)"

So the piece is even more spectacular than I thought. It's not just a bicycle cozy. It's an art-knitting interpretation of a functional bicycle!

Amazing.

Wednesday, February 09, 2005 12:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Wednesday, October 20, 2004

Here's another review of a knitting book that time forgot.  This one is The Teenage Knitting Book by Betty Cornell.  New York: Prentice Hall, 1953.

Intro to knitting books weren't invented with Yarn Girl's Guide to Simple Knits or any of the other ten thousand beginner books that have recently flooded the market  Nor is the retargeting of knitting at a younger group of knitters something new.  Yes, books are better illustrated now, yarns are heavier, and the level of knitting skill expected from beginners has decreased somewhat; but the basic idea - writing trendy patterns in a chirpy style to encourage new knitters and enable them to learn new skills - hasn't changed.

This book is a case in point.  It's by a woman whose other credits include a large number of girl's grooming and fashion books.  My mother says that her name would have been recognized at the time.  She touts all the familiar stuff:  knitting is wonderfully relaxing, it's great to fill up time and/or keep your fingers busy, it presents a grand sense of accomplishment, it fills tactile needs, and it's fun to get together and knit in groups.  As one would expect it also asks "why not make that ultra-trendy stole in the exact color you want instead of buying what's available at the store" just like its recent descendents. 

After a brief intro, the book is off and running presenting several dozen patterns for blouses, sweaters, stoles, socks, hats, and dresses.  Patterns range from dead simple (a dropped stitch stole flat out identical in concept to the "magic scarf" pattern floating around the Web right now); to several pullovers that sport some nice shaping and tailored details.  Yarns are small.  Most pieces are knit in fingering or sport weight yarns.  Sizes are also small.  Although they're labeled as being sizes 14-18, those sizes are pegged to finished sizes ranging from 34-36 inches finished chest measurement for the 14 to 36-38 inches finished chest measurement for the 18, depending on how tightly they fit.  Remember - this was the sweater girl era, and fit is generally quite sleek, so I'd estimate these as being the equivalent of modern size 8-10-12.  In spite of that, there are several pieces in the book that are very interesting. Here's one of the more unusual:

If you get past the strange yearbook pose and black and white presentation, you'll see a piece with complex waist shaping, an interesting neckline, and set-in cap sleeves.  It could be worn today.  Not necessarily with pearls and a Pepsodent smile, but could be quite interesting and depending on the yarn choice -  could compliment anything from jeans to velvet.

Here's another - a classic cable sweater.  This one has shoulder pads inside and the model is probably wearing a girdle to create extra waist shaping. 

Not a boxy rendition of the standard cable, but a tailored piece featuring two different stitch patterns.  Note the push-up sleeves.  You don't get that kind of fit  from a bulky yarn.  I especially like the way the cables flow down without interruption to the ribbing at the cuff.  This piece is knit in fingering weight. Wearable now as a classic?  You bet. 

There are several cardigan patterns, ranging from little cropped length pearl-button cap sleeve ones to longer styles paired with knit skirts.  Very retro, yet again - wearable today.  There are some men's patterns.  The one I like best is a seaman-style sweater with a very long ribbed sections at waist and cuffs - both meant to be worn folded up.  It looks like something to be worn in a remake of On the Waterfront:  

 

I think that QueerJoe would look killer in this simple piece.

There are also patterns for golf club covers (woefully small for today's oversized drivers) and a couple of easy to make afghans.  A bonus in all knitting books of this vintage, there are sock, hat, glove and mitten patterns, including a very nice plain anklet, and the hot, hot must-have item of the day - the argyle:

The patterns are more completely written up than most patterns of similar vintage.  Colorwork is charted, but except for that all instructions are offered in prose.  They don't use the arcane shorthand common to most late 1940s/early 1950s patterns, instead directions are are presented in complete sentences.  There are some major assumptions made - like the entire direction on shaping the waist frill in the top photo reads "Block peplum, then face with taffeta leaving approximately 2 inches free at each side seam to allow stretch and tacking top loosely."  It may be a beginner knitting book, but some sewing skills here are clearly expected from the knitter.  

The book finishes up with an 8-page how to knit and crochet section, illustrated with line drawings.  Unlike most American-made books of its time, it shows Continental style instead of throwing.  It's prose-heavy compared to modern how to books, but the info it offers is succinct and well-written, covering all of the basics needed for the preceding pattern sections.

So like many of the knitting books time forgot, this one is interesting and deserves a second look in spite of its dated black and white pix, aged and plain library binding, and 1953 copyright date.  Many local public libraries have vintage books that you may have skipped past in your search for newer stuff.  Go back and revisit the older volumes.  Not only are they knitting history, they're an excellent source of inspiration for knitters today.  Besides, if they sit on the shelf idle too long the library staff might cull them from the collection, and we'll lose valuable info that can be supplanted, but can never be replaced.

Wednesday, October 20, 2004 1:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Thursday, October 07, 2004

Today bodes to be a chaotic day, with Real Life intruding on the time I usually squander on blogging, eMail and wiseNeedle maintenance.  There's a Family Event in the works for this weekend, so there are obligations that need to be met that require setting disorder aright, the creation of foods, and dressing/attending the actual group activity.  Therefore do no be surprised if little gets posted here over the next 48 hours.

In the mean time, I can report on last night's midnight ramblings.  Some of it is knitting-related, some not.

First, I went off web-walking through Japan again.  No I don't read Japanese, but I do read Picture.  Even if the text is beyond me, I always find tons of inspiration (and not an inconsiderable bit of whimsey) in what turns up.  Of course I visited my standard sources of Japanese knitting fun - The Hand Knit Lab and the ABCs of Knitting - neither one of which has been updated in a long time.  But I did find new stuff, too. 

On the inspiration end is the Motif-Motif website.  As far as I can tell, it's a retail site offering finished knitted garments.  Quite a few sport interesting features, including asymmetrical closures and a fresh use of textures - including crochet and crochet used in combo with knitting.  Some of the crochet might be a little over the top for my tastes, but even done at the scale of these pieces, it has a better drape and flow than the clunky wool stuff I blogged about before.  Click on the thumbnails to go to that offering's page, then click on the gray bar with the little magnifying glass in it for multiple views, close-up.  I especially like the button-use idea in this piece.

On the whimsey end, there's this illustrated story of learning to spin, weave and knit.  Again, I haven't a clue as to what's actually going on here, but I can (sort of) follow along with the story from the adorable illustrations.  Click on the little hand illustration to page through the whole thing, or on the text link below it for a quick dose.

Finally, this has nothing to do with yarn.  I was visiting Boing-Boing, always a source of the unexpected.  There I found  a link to ZoomQuilt.  Be VERY VERY patient.  ZoomQuilt takes a long time to load, and you may time-out.  If you get the plain-text white intro page, click on the link at the bottom, then use your up and down arrows to follow along.

Enjoy!

Thursday, October 07, 2004 1:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Saturday, September 18, 2004

I've been having discussions with folks on other blogs, and in eMail about crochet and its strengths and weaknesses. I'd posted about this before.

My objection to most contemporary crochet patterns is that they try to take advantage of crochet's strengths but ignore it's shortcomings. For example, they try to present easy to make/quick to finish projects. That plays on two of crochet's strengths - namely how easy it is to learn, and how quickly it can be worked. But in doing so, they scale up textures and stitches to use with DK and heavier weight yarns. That leads to the lumpen, potato-bag, refugee-from-grandma's-sofa look, a good example of which is the skirt on the cover of IK Crochet:

This same texture pattern would be exquisite in a much thinner yarn, done up in panels in a sweater or blouse. You may disagree with me and say that I've got no taste, but to me this skirt is heavy and unattractive, there's nothing about it - not drape, not fit, not texture that flatters the wearer.

Now crochet in heavier yarns can be quite attractive. Crocheted fabrics are thick and warm, and resist stretch better than some knitted ones. A dense crochet in a heavier yarn is perfect for a coat or outdoor jacket. Even a hat or bag will benefit from the body and thickness. But not an indoor/outdoor or indoor garment.

What do I like in crochet?? Here's an example.

The thread size/texture pattern are graceful and in proportion to the garment. I also l ike the style. Sleeves are fitted, and there's some evidence of a bit of body shaping, even though this cropped pullover is boxy in general shape. Please don't write to ask for the pattern or provenance. A friend eMailed me this photo, and other than her say-so that it's from a French-language crochet magazine, I haven't a clue as to when/where it's from.

Even the usually dreadful granny square motif can be attractive if it's scaled in relation to its usage. Here's a nifty example from the UK's Knitting and Crochet Guild on-line collection pages:

The caption page attributes this piece to the 1950s. It's done in 3-ply - a yarn that's would be considerd light fingering in the US, and would probably knit up at between 8 and 9 stitches per inch on US #1s. The sweater's multicolor?motifs are crocheted, but?the rest of the sweater is knitting. Be sure to go to the caption page to visit the sweater's detail shot, so you can see the fineness of both the knitted and crocheted sections, and how the gauge of the two compare. (Also if you want to support this nifty collection, there are notecards illustrating some of their most spectacular pieces for sale at the end of the collection.)? [/End shameless plug of worthy cause.]

Saturday, September 18, 2004 1:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Monday, August 30, 2004

More progress. 

I'm only three rows from being done with this side panel, so I turned my attention to figuring out how to join the top and bottom strips.  I think I'll end up doing something like this:

I'll be working this strip the long-narrow direction, joining it to the side of the existing piece.  I think the joins will be visible if you know to look for them, but they shouldn't be too distracting because except for the first two and last two rows of the piece, the column of meshes that is being attached are all filled in, and any additional heaviness should be visually lost in that solid line.

In the mailbag I had a couple of questions on why I thought that filet crochet is clunky and heavy looking.  The people who wrote thought my piece was anything but.  However, to me filet is heavy by comparison to Lacis - the style it emulates. 

Lacis is worked by darning in the meshes on a hand-knotted net background.  You start with a netted ground, then with needle and thread, weave in the meshes that need to be worked solidly.  There's a wonderfully arcane logic to designing one's path of stitching so as to minimize ends.  If you like the mental excercise of working double-sided blackwork or cross stitch, you'd really enjoy Lacis.  For delicacy though, filet crochet just can't compare:

This photo is from a photo catalog of household and decorative arts held by the Hermitage Museum in St. Petersburg, Russia.  The book is in Russian and French, published in 1974.  It identifies this piece as being Italian, 16th century, but says very little beyond that. 

To my amateur eyes, it looks like this piece of lace was cut down for re-use, because not only are motif roundels rudely interrupted, both the tape at the top and the applied needle lace lappet edge at the bottom are sewn on to roughly cut edges that in some places slash meshes in half.   Even so, look at the extreme contrast between the darned solid bits and the spiderlike open areas formed by ever-so-thin single thread mesh ground.  Now THAT'S delicate!  You can also see yet that the use of the borders and central panel area is yet another bit of inspiration that stewed around before the idea for my dragon curtain was birthed.

This designs in this particular piece are on my "to-do" list to graph up for Ensamplio Atlantaea.  My postulated but not yet realized sequel to The New Carolingian Modelbook.  Little things are holding up that production - like the lack of a good graphing platform, not having a publisher, that so many other people are now plowing the same turf and I don't want to repeat material others have issued.

How did I lay hands on the Russian decorative arts catalog?  It's amazing what you can find in the damaged goods deep-discount boxes at some Cambridge, Massachusetts used book stores.

Monday, August 30, 2004 1:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Sunday, August 29, 2004

It's hot and I'm melting.  I'm glad I'm working with cotton on my filet project, as the thought of even the lightest, smallest woolen project in 90-degree F humidity makes me twitch.  Work continues on several fronts.  I'll have more Dragon postings tomorrow or Tuesday.

Lightning Strikes

Right now though, I'm busy writing up the Summer Lightning lace scarf pattern for inclusion on wiseNeedle.  Here it is again:

If I miss an odd day or two here and there on the blog, it will be because my web-time quota is being used up drafting out this pattern.  I'll post again when it goes "prime time."  Once it's up, I'll enjoy hearing from people who try it.  

Since I'm (obviously) not in this for the massive bucks, reading about the fun people have with my stuff is my prime reward.  Seeing pix of it is even more nifty.  I was ultra tickled to see this hat adapted from Knot a Hat by Australia's ZenKnits, back in June.  There's a nifty armwarmer on I'd Rather be Knitting, also back in June that used the doodle cable I posted here on String.  I've also heard from a couple of people who have used the Mountain Laurel counterpane pattern and my various sock patterns.  In fact, if you've knit something from one of my designs I'd be delighted to show off your work.  Feel free to write to me so we can discuss file formats and the like.

Eye Candy

In the general eye candy department, I stumbled across this knitted pin ball.  It's an egg-shaped pincushion, knit in silk and dated 1801.  It's offered for sale by an antiques dealer specializing in samplers.  Given the excellent condition I'm not surprised at the high price, but it makes me wonder.  Did Elizabeth Searle ever envision her humble gift of friendship lasting out the years?  200 years from now will any of our works be offered up to avid collectors? 

Sunday, August 29, 2004 1:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Thursday, August 26, 2004

Each week Dover books sends out several sample pages of (mostly) kids' books as come-hither advertising.  This week's freebies include four pages of illlustrations from Sheila McGregor's Traditional Scandanavian Knitting.  They offer up two pages of colorwork photos, and two pages of small graphed patterns for Setesdal jerseys.  You can leaf through all four image sets here

These samples only stay up for about a week, so if you're tuning in later than the beginning of September, you're out of luck.

Thursday, August 26, 2004 1:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 

Firefighters Socks

Several people wrote to ask where they could buy my Firefighters Socks pattern.  You can't buy it.  No one can.  It's not for sale because I give it away free at my wiseNeedle website.  The links here (and in yesterday's post) will take you directly to it.  It's written for worsted/heavy worsted yarn, and if you've never done toe-up socks with a Figure-8 toe or short-rowed heel, being at such a large gauge is a good pattern for a first attempt.

Romilly-les-Chaussettes

Thank you to everyone who wrote to say that the postcards I posted yesterday were printed around WWI.  I thought that was rather obvious, so I didn't bother to note it.  Most of the others on the site I mentioned were of the same vintage, with a smattering of earlier and later cards. 

And a BIG thank-you to Spinnity, who was intriged enough by the sock card to comb through history sites (in French) to find out more about Romilly and its curious link to socks.  She left a nifty comment.  I'll summarize her theories:

Romilly was a center of sock manufacture, with at least two large factories nearby producing socks and stockings.  This line of regional specialty continues to at least March of this year, when Jacquemard, a major sock factory, closed.   The town apparently has had the name "Romilly-les-Chaussettes"  (Sock Romilly) for a very long time.  Here's her link detailing the passing of Jacquemard mills (for some reason it didn't come through on her comment post):  in French; in machine-mangled English.

Here's another Romilly-les-Chaussettes postcard:

Again we see the stripes passing north and south of the heel.  But the heel isn't a short-rowed one of the type often seen on machine-made socks.  It has a wide heel flap that wraps around the entire back of the foot, then a cupped bottom area.  It looks like after the heel unit is finished, stitches are picked up along the heel's foot-side edge, and the foot is continued tube-like from that point, incorporating live stitches from the top of the foot.

Apparently the tradition continues.  I found mention of at least two more sock factories still in operation in the area around Romilly sur Seine (Olympia, Aube Chaussettes); plus in true French fashion - a regulatory board or committee overseeing standards of manufacture and appelation.

Not in France Anymore

Having had a brief whirl through France, I turn to something that causes shudders of horror in every visitor I've ever had from that land:  American packaged bread.  Well, not the bread itself, but the little plastic tags used to close the bags.  Continuing the series on indispensible but free knitting gadgets, I put forth the humble bread tag:

What use are they?  Well, you can write on them then clip them onto things.

Have you ever been working on a garter stitch piece and forgotten which is the front?  While you could remember that the front is the side that has the cast-on tail at the right or left (depending on your method of casting on), I for one can never get that straight.  A bread tag with an "F" on it, placed on the front of the work can be a lifesaver.

Need to track the point where something tricky has happened?  Bread tags can mark armhole decreases, sleeve increases, buttonhole locations, and the like.  They attach firmly to your work, and rarely fall off.  Safety pins work well, too but the coils of standard safety pins can get tangled in the knitting yarn, and not all of us have the fancy coil-less safety pins sold in knitting and quilting shops to hand. 

I've used them for marking yarns in my stash.  If I've swatched, I'll scrawl the acheived gauge and needle size on a tag and affix it to the ball.  I've used them to identify or otherwise mark swatches submitted to pattern publishers as part of my design proposals. 

Bread tags are free and completely disposable.  You can break them to remove them from your knitting, and not feel you're tossing away a good tool.  (In my house at least they are a constantly-renewing resource and rank up there with wire hangers and AOL CDs.)  They also come in lots of colors - good for any color coding scheme you wish to devise.

In a non-knitting mode, I've also found them very useful for marking the cables that plug into my routers.  I know know exactly whom I am disconnecting when one gets unplugged, even if the shout of dismay wasn't audible. 

Finally, I know people who use them to mate socks before laundering.  A bread tag through the toe keeps the pair together, and avoids that dreaded One Sock Syndrome.

So if you're looking for a way to make in-work/on-work notations, don't pass up this humble resource.  After all, it's not like you have to rush out to buy some.

Thursday, August 26, 2004 1:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Wednesday, August 25, 2004

In answer to yesterday's questions - yes, the two sleeves of the Sad Little Object are very different.  Plus one is fully seamed front and back, and the other is only fastened to the front.  Even so, the measurement across the upper arm on the sleeve on the right (the skinny one) is two inches narrower than the measurement across the same spot of the one on the left.  Truly a disturbing little piece...  I will however save it as a cautionary lesson.  Perhaps just seeing the mismatched upper sleeve colors will scare someone into springing for that extra "insurance skein" the next time they make a closely esitmated yarn purchase.

Needlework postcards

I was out web-walking late last night and ran across some amusing offerings.  Please excuse me if I've linked to these in some sort of etiquette-violating manner.  I've got two impulses here - the first is not to unduly burden someone else's server; the second is to respect their ownership of these materials by not duplicating their files on this site.  That being said, here are some nifty bits.  They're part of a collection of vintage postcards being offered for sale by Postcardman, a collector.  [No affiliation, yadda, yadda].  The site is being hammered right now because it was mentioned on Boing Boing (where I found it), so both patience and coming back later might both be in order if the images are slow in retrieving.  UPDATE:  I've gotten so many notes already asking for me to post these directly that I've done it. 

First, here's one that makes me want to sharpen my historical investigative skills:

Why was this Romilly, France associated with these socks?  Anyone know?  It's also interesting that the stripey ones look a lot like Regia Mini Ringel if one did toes and heels in a contrasting color.  Plus there may even be more than one working method shown.  The yellow heeled pair and the gray pair with the apricot/brown toes/heels look like they're worked similarly.  But the blue/yellow stripey pair in the center looks a bit different.  Examine the way the stripes terminate even with the heel on the yellow toed pair.  They don't do that on the center one.  That one looks a lot like the short-row heel socks I make from Ringel, with the stripes "splitting" around the whole heel unit. 

Then there's this one.  If you're more musical than I, please enlighten us all on the nature of this little knitting song.  (The image is too big to post conveniently, so you'll have to click on the link.)   As far as translating the lyrics, I get something like:

Song of the Needles

Knit, needles of France
Start ?
Knit with martial cadence
For the heros, the sons of France
Who fight and die down below

Countrywoman or grand city lady
In salons and in ??
Knit the same wool
Without knowing whom you will clothe.

It goes on from there to speak of fears for the loved ones, that all should undertake this work in the hour of fraternal/patriotic spirit, and ends up with

Inch by inch, stitch by stitch
We repel the German forces.
Everyone is on the battlefield,
Needles of France, go forth!

Of course my French is mighty rusty, so if anyone else makes more sense out of the thing, please let us know.

Other curious needlework and knitting related cards include Socks of the French Soldier:

The big caption works out to something like "My tools and army-provided kit."  Again, if you can get this photo to load, look at the way the socks are made, with a ribbed top and top of the instep; a heel of a different texture, and what I suppose is a stockinette foot part, ending in a pointed rather than grafted toe.  It even looks like the stockinette foot part is of a lighter weight yarn.  The strings at the end of the toe aren't there because the knitter forgot to end them off.  They were deliberate additions, intended to make keeping a pair together and hanging them out to dry easier.

There are also quite a postcards having to do with embroidery, spinning, weaving,  sheep,  and more.  The knitting ones came off a miscellanous textiles grouping.

Again, apologies if these pix don't load.  The links are VERY slow.  You may wish to save them to look at later when traffic has subsided somewhat.

Wednesday, August 25, 2004 1:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Saturday, August 14, 2004

Apparently the red bit of stitching I posted yesterday piqued a bit of interest.  I received some questions on it:

I can't see the pattern you describe.  Can you post a detail shot?

Here's the best I can do:

Where did you get red muslin?

I didn't.  As you can see in the detail shot, the ground isn't red.  In fact you can't see the ground fabric at all - the entire piece is completely overstitched in red, black, yellow, green and light blue. 

What thread did you use, what stitches, how big is the piece?

Thinking back to '75 or so when I made this, and hoping I remember it all - I used two strands teased from standard DMC embroidery floss.  The entire piece is done in plain old cross stitch, nothing fancy.  The muslin was a remnant from the discount table of a neighborhood fabric store, back in the days before big box crafts stores.  I worked my cross stitch over 2x2 threads of my muslin ground.  And yes - all the top legs are crossing in the same direction.

The entire thing is about 11 inches wide and 14 inches deep, both measurements taken at its widest points.  As far as gauge or stitches per inch, the weave of the muslin wasn't square, so my cross stitches aren't square.  The flower motifs themselves graph out exactly square, but because of the weave-induced distortion, they end up looking like rectangles.  Across the motif (the stretched dimension) it measures out to about 16-17 cross stitch units per inch.  Up and down the motif (the squished dimension) it measures out to about 21-22 cross stitch units per inch.  The imprecision is there because I have the piece mounted in a frame, and it's tough to hold a ruler close enough to get an accurate count. 

The mounting glass is also why this is photographed at an angle.  I hoped to bounce the flash so I didn't get a glare or - like yesterday - a ghost image of me taking the picture reflected by the frame.

What's the design source for this one?  Why is it a funny shape?

I started with a couple of traditional Ukranian counted thread patterns, most notably an illustration in Mary Gostelow's Complete International Book of Embroidery, then played with them a bit.  What I ended up with was a yoke for a blouse or dress.  I did wear this yoke, appliqued onto two garments.  The first was a very thick linen peasant-style blouse, smocked just beneath the panel and finished with gathered and tied cuffs.  After that blouse met an untimely soy sauce/bleach-related death, the second was a black straight tunic-type linen top, rather North African in shape.  Thankfully the embroidery itself was unharmed by the soy sauce and subsequent attempt to clean it.  Another thing - this is the piece that was recognized with the Nellie Custis Lewis prize at the Woodlawn Plantation Needlework exhibition in '93.  That year the special prize was given for garment trim or accessories. 

So, what relevance does all this have to knitting anyway?

One thing that gets me fired up is the possibility of cross-pollination among needlecrafts.  Why can't I take a 16th century pattern intended for lacis, counted embroidery or weaving, and use it in filet crochet or knitting?  Why do I have to stick to traditional Scandanavian, North Sea island, and Baltic motifs for stranded colorwork?  For example, why not mess with this red bit of stitching, adapting its motifs for knitting? 

Why for that matter do I have to stick to any one type of needlework?   I've done that.  I've made the repro historical pieces. It's virtuoso work when done to the nth level, but  it's also limiting.   I want to do more.  What gets me truly involved is moving away from staid verbatim reproduction in one of two directions, either -

  • Making an entirely original and new piece, but doing it in such a way that were it transported back in time it would be accepted as yet another contemporary example of its type.
  • Taking motifs, designs, or aesthetics from one branch of traditional needle arts and using them either in combo with another form, or for use entirely in another form.

This attitude one of the things that makes me a Rogue Laurel in the SCA.  Yes, making an exacting reproduction of a meticulously researched and documented artifact is a manifestation of skill (and perseverence) on a high order, but I don't see it as the ultimate expression of the deepest level of understanding. 

Believe it or not, I see the elusive goal of true mastery of a needlework form as having parallels in martial arts.  It's one thing to learn fencing, Judo, Karate or Aikido exercises perfectly and to perform them with grace and precision when required.  It's another thing to abstract the principles behind the exercises, and be able to summon them up to defend oneself from someone who doesn't know the other side of the script.    It's the inner form of these arts, the part that you can recognize at a visceral level, internalize, and use as a point of spontaneous application that is the goal of practicing the outer form of the techniques.

So from street fighting, I cycle back to stitching and knitting.  I have done many of these other things amd tried out many different needle arts because I see deeper parallels among them; because the lessons I learn in one pursuit inform my investigations of others.  And bogus pseudo-philosophy aside - mostly I do these things because they make me happy.

Footnotes:  SCA = Society for Creative Anachronism.  Laurel = SCA's kindgom-level award for achievement in the arts - one of the highest achievements possible withing the group, and an ardently sought-after goal.  I am honored to have been recognized in the East Kingdom in '79 for fostering the practice of historically accurate embroidery, in specific - blackwork and related styles.  Rogue Laurel = one so honored whose opinions differ from the established consensus, who ends up being in the minority on most arts-related issues, see related entries under "pain in the butt," and "gadfly."   I'm mostly retired from active participation in the SCA these days, but I can still be found on occasion at events in Carolingia (greater Boston, Massachusetts area branch).

Saturday, August 14, 2004 1:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  | 
Saturday, June 05, 2004

Somewhere out in the dark of night lurks Mark Newport; a fiber artist with time, imagination, and a full attic of vintage comic books.  

Mr. Newport knits head-to-toe superhero suits.  You can purchase his one-of-a-kind Spiderman; Mid '60s Batman; Daredevil (with nifty ribbed hood) or Mr. Fantastic outfits.  If he selected a nice, springy wool, he's probably figured out what I never could as a kid - how Reed Richards was able to stretch his arm to ten feet long but never burst out of his suit.  (Later when I got older I thought of the implications of being his wife Sue Storm, but that's another speculation left over from a more innocent time.) My embroiderer and comic-collector selves also really appreciate the oddity of Mr. Newport's embroidery on paper comic book samplers, too. 

Mr. Newport's work is being gathered into an upcoming exhibit at the Greg Kucera Gallery in Seattle, Washington.  Be warned however - he overembroiders or embellishes many types of printed matter in addition to comic pages, including what in a more genteel era would have been called "French Postcards."  The gallery's site does explore those materials as well.

Yarn Reviews at wiseNeedle

Thank you, thank you, thank you! 

Since yesterday 24 new reviews have been logged in.  That's the most reviews received in one day since early '95, when the collection was just starting out!  Knitters everywhere will be extremely grateful as they find your comments on all those yarns.  I'm particularly impressed with the blog community, and the way that it's rallied behind this project.  I feel like I'm back in '94, part of a happy band of knitting zealots spreading their shared banner through the electronic ether.  Thanks also to the folk from the KnitList who slogged on over to the site to add their experiences to the pile.  I also really appreciate all the people who took time to say they'd miss the yarn review collection if it disappeared.

I've still not decided what to do to make the collection self-supporting, but I did get a couple of good ideas to chase down, both left as comments on yesterday's page and mailed to me directly.  I notice that other people don't have the ethical/editorial independence problem I see with accepting ads from yarn makers or retailers.  One person wrote to suggest that I offer a "buy me" sidebar, with a list of vendors appearing whenever a review is pulled up.  The logistics on that might not be feasible, especially considering that many individual yarns have the half-life of a mayfly, and the indexing would have to be done by manufacturer's line rather than individual offering.  Plus, I'm afraid that if I become dependent on money from industry sources, the collection will become less impartial as people become hesitant to criticize the same stuff they see advertised.  Also I might be swayed (even unconsciously) to favor advertisers over non-advertisers.  Perhaps I'm too much a stickler here.  More thought is needed.

Another intriguing idea was to see if sellers of knitting inventory software might be interested in licensing the database.  Another was to sell bags or tee-shirts with knitting-related stuff on them.  If anyone has had experience with Cafe Press or similar collateral services, could I beg a little guidance?  (You can send me an eMail off-blog at using the "contact" link at the right.)  I also got a suggestion to add a line of for-pay patterns to the free ones already there.  I'm not convinced though that anyone would pay for these as the more complex ones are working descriptions rather than stitch-exact direction sets; and the less complex ones are so intuitive that I can't believe people would plunk down a fee for them.  Then again, there are people selling other simple patterns on the web and on eBay at surprisingly large prices... 

Buttons?

Some people asked for a closer view of the ceramic buttons I'll be using on the fulled pillow.  Here they are, both with and without the little yellow plastic ones I'll be using to hold them on.

Saturday, June 05, 2004 1:00:00 AM (GMT Standard Time, UTC+00:00)  #    Comments [0]  |