Crochet Every Way Stitch Dictionary - Book Review

Crochet Every Way Stitch Dictionary

125 Essential Stitches to Crochet in Three Ways

Dora Ohrenstein

Paperback

9 ½ x 7 ¼”

287 pages

Publisher: Abrams (May, 2019)

There are two basic avenues to gain knowledge of any subject: (1) via study through books and/or the classroom; or (2) from direct experience. Both have their place, but when it comes to crochet, the former is almost impossible as there is scant formal written information on the subject, especially when compared to its’ big sister needlework art, knitting. Just to provide one cursory example, I pulled out a general textiles book from my personal library, written in 2005, and searched the index for knit and crochet entries. I was expecting a fair amount on the former, but was unsure whether crochet would have made the cut. I was surprised when, after mentally recording that more than three quarters of the 24 entries under “K” in the book were about knitting, the almost 2 pages of “C” entries contained exactly one about crochet – “crocheting.” And that lone entry in the textile wilderness was contained, tellingly for my current purposes, in a chapter entitled “Nonwovens and Other Methods of Fabric Construction,” and was grouped together with macramé, netting, and tatting, as alternative ways to create openwork fabrics. Of some note, this textiles book also included hairpin lace as its own method within this grouping, indicating it as a subset of crochet. I can only guess that the frame used to create hairpin lace was the reason it earned its own distinct entry separate from general crochet.

Enter Dora Ohrenstein.  She has been writing books on crochet and crochet design for the better part of the last decade, and the title that had, until now, the biggest impact on my designing career was her 2011 title Creating Crochet Fabric. Before it, I was not a fan of swatching, and initially I purchased the book for the design projects (and have made one, the Juliette Shawl, which project made the blog in this entry back in May, 2011). While the design projects drew me in, it was the brief, ending stitch dictionary and fabric creation that kept me coming back to it, again and again and again. Dora spent considerable time throughout the period when that book was first published attempting to get everyone – both designers and non-designers – to just swatch. Ohrenstein was trying, back then, to get everyone to learn to love the art and beauty of crochet fabric as much as she did through the means she knew best: direct personal experience with hook and yarn.

A swatch sampling from Crochet Every Way Stitch Dictionary

Fast forward to now, and Ohrenstein’s latest title, Crochet Every Way Stitch Dictionary, picks up rather elegantly, and with some innovation, where Creating Crochet Fabric left off. In keeping with my theme of how one gains knowledge, Dora’s opening words in this book provides her personal roadmap: “I taught myself to crochet as a twenty-one-year-old hippie while living on a houseboat in Amsterdam.” It doesn’t get any more hands-on than that. While she would leave crochet for a singing career in the intervening years between that hippie houseboat and now, creativity has never left Ohrenstein, and it shines brilliantly in this, her most recent entry, on the way to get everyone hooked (no pun intended) on the possibilities of crochet fabric. (Note: Dora has also completed an Artfully Voie de Vie Questionnaire here back in 2012.)

My version of Plump Posts, p. 126, worked in
Cascade 220 Superwash + a 5.00 mm hook

For designers and non-designers, swatching is the cornerstone of most any knit and/or crochet endeavor. For the maker, it yields vital information on gauge and fiber behavior with a particular stitch pattern, the lynch pin of whether a project will be successful. For designers, swatches are mini-fabric windows through which designs flow, morph, grow. Each attempt yields different informational fruit, all of which goes into the trifle that will become future fabric. We designers become the masters of the 4” fabric square, the going industry size for determining whether a design is, or isn’t, a potential publishing winner. The swatch is, of course, conventionally a means to a bigger design end and, most probably, was created in service to a design idea already formed.

What Ohrenstein wants us to recognize and internalize is that the swatch is a vehicle for stitch patterns that, in and of themselves, are a wealth of design information and inspiration. Exercising the swatching muscle can (and I might argue) should be one of the foundational design inspiration tools in any self-respecting designer’s tool kit – to be exercised at any point, whether or not with a particular design in mind. This book shows that how one manipulates a stitch pattern via increase and decrease can just as easily lead to other design inspiration. Stitch pattern increase and decrease is just as much an art as a skill.

My Open Ovals swatches, p. 236, using
a fiber cocktail of Habu Textiles Silk
Mohair + Tahki Stacy Charles Luna
held together + a 4.25 mm hook

After introducing some perfunctory basics on stitch patterns and how they create designs, Dora lays out the book’s organization – stitch patterns in five flavors over six chapters from closed stitches to open, texture to lace, and that final crochet mainstay – ripple stitches. After thumbing through each section, I chose the first three stitch patterns that caught my eye to work up for this review.  My gut is consistent when it comes to the types of stitches I like – I chose one from the texture section, one from the classic lace section (and that’s my favorite section in the book, truth be told), and one from the ripple section because its increase was just so darned intriguing.

Working these swatches was not only a pleasure because each is charted (such a treat – work the chart and fini!), but also because I chose stash yarn for each, and for this textile fan pairing the right fiber with stitch pattern is always a fun exercise. Working some of the decreases on the first texture stitch swatch instantly gave me other ideas on what could be done along that particular edge. The lace swatches were the most satisfying, not the least because I chose to work them up in a mohair blend. The ripple increase swatch was, however, the most enlightening. I know I shall be going back to that swatch as well as that 

Tilted Ripple, p. 270, was by far the most fascinating
swatch worked. I used Drops Puna + a 4.25 mm hook.

section of the book (at the end, and the shortest) to further investigate.

While this is technically a stitch dictionary, I find the title slightly misleading. I do not find the stitch patterns themselves to be the star, but how we can learn to manipulate them. In that respect, this book is indeed innovative, because stitch repeats in whole cannot always be successfully increased and/or decreased. Ohrenstein, through her instruction for each increase and decrease, is giving us the underlying tools to successfully get any stitch pattern to do what we want it to.

It is a shame that we (at least in the U.S.) tend to look down our noses at craft (although this continues to change and evolve). Ohrenstein, with this latest title has, along with her title from 2011, created a one-two punch for anyone wanting to create crochet fabric, or learn more generally about fabric creation and manipulation. As crochet is seen more and more regularly on the fashion runway, it takes its place alongside knit fabrics as a potential design fabric staple in any house’s seasonal collection. Resultingly, I find both of these Ohrenstein titles should be useful not only to a general craft public (as each title is categorized by their respective publishers), but also relevant in any textile or design classroom setting. Then there would be, at minimum, three crochet entries in any thorough book on textiles.

If you love to create fabric (crochet or otherwise) as much as I do, and you’ve read this far (ha!), now comes the payoff: I had no idea Abrams would be sending me two copies. Therefore, I am so thrilled to be able to give a copy of Crochet Every Way Stitch Dictionary away to one lucky winner. All you need do is comment below on why you want a copy of this book, and what you hope to learn from it. I will be awarding the copy to a winner via random number generator from all comments received between now and the end of the day next Monday, June 17th. 

Good luck ... and happy swatching!

Wednesday, June 19th Update: Sorry I am a few days late in awarding a winner - but I gave the random integer generator a whirl just a few minutes ago, and it picked number 1 (and 5 was the alternate), so Missy of A Tree Hugger's Wife wins this awesome book! I will also be posting this on Instagram, so everyone can see it there as well. Thanks to everyone who read the review, and especially to those who took the time to leave a comment. I urge everyone to add this title to your crafty book shelf - you will not be disappointed.

The Next Big Thing ... from Tough as Lace Publishing

As many of you are, perhaps, aware, my first book, as well as certain other of my publications, are released through my tough as lace publishing imprint. 

I have been working, slowly behind the scenes, on a second book of designs! It's been simmering on a back burner for about three years, and I am finally able (and confident) to announce that it will be ready for its public debut in September, 2019. 



While I will not spill the beans concerning its contents (for reasons that will become apparent in just a moment, as you read further), I will tell you that it is bigger, by about 20%, than Leather, Lace, Grit & Grace. The designs, this time around, are all crochet. Gloriously, wonderfully crocheted in amazing yarns and colorways - both from indie dyers as well as bigger, commercially manufactured yarn producers. The artwork, photography, and layout are, of course, also mine, so this is my second multi-discipline labor of love. It is, however (unlike the first book), deeply personal. It is a read, as well as filled with all the things I love - design, art, color, fiber, photography.

I will be offering, over three months (March, April, and May, 2019), sneak previews of three book chapters, as part of a pre-publication book package, and of course the earlier you commit, the less money it will cost you. Initially, here is the package:

- a soft-cover edition of the book, signed by the author (me!);
-free, world-wide shipping of the soft-cover edition; and
- an electronic version of the book.

The chapters (to be released electronically via my Ravelry store) will start March 1st, the second April 1st, and the third May 1st, and the earlier you purchase the pre-sale package, the more you will save. Commencing today, February 1st, the above book package will be listed in my Ravelry store for $20.99; when the first of these chapters goes live March 1st, the price for the package will then increase to $23.99; when the second chapter is uploaded April 1st, the package price will increase to $26.99; finally, the complete package price of $29.99 will be listed once the final of the three chapters is released May 1st. After that, this package price will remain at $29.99 until the book's publishing September 2nd. On September 3rd, the $29.99 price will be for the soft-cover book only (no electronic version included, and no shipping either).

I will also tell you the chapters I will be releasing are not at the beginning of the book - they actually fall about two-thirds of the way into it. Once you see the first installment March 1st, you will understand why I am doing it this way. However, it also provides a healthy sneak peek well into the book's evolution, yet also still leaves enough mystery to make the anticipation of getting the entire book rather high. Finally, on the preview chapters: all chapters released early include awesome crochet designs, and the May release includes multiple designs.

I am, just as for the first book, excited and scared in equal amounts. I do hope this sophomore effort meets with maker (and reader!) approval.

Taking a very deep breath ...

Coastal Crochet - Book Review

The cover of Coastal Crochet. All book photos by Anne Podlesak, used
with kind permission of the author.

Coastal Crochet
Author: Karen Whooley
Various Formats; 95 pages; 8.5 x 11
Publisher: Occhi Blu Press (2018)
ISBN: 978-0-9723232-4-6
eBook ISBN: 978-0-9723232-6-0
Language: English

I attended (for a single day) the recently held Chainlink Conference, the annual crochet event organized by the Crochet Guild of America (CGOA). This was my first attendance at this particular event (I have, in the past, attended a few Vogue Knitting events as well as the Oregon Flock and Fiber Festival - photos from both which you can view here on the blog). 

It was a whirlwind afternoon, with a lot of meeting. During my walk through the marketplace (which was almost at the end of the day), I managed to say hello to Karen Whooley. Local to the Puget Sound just like myself and a self-publisher (also just like myself), I was quite open in my willingness to review her latest, sophomore self-published effort Coastal Crochet.

As an author who has worked on each and every aspect of a self-published book, I know exactly how much effort publishing one's own title entails. While Whooley managed to assemble a well-seasoned team to help her, ultimately things always rest with the author in this type of publishing, so my hat is off to Karen for a strong second effort.

This is a clean, straight forward assembly of 12 (mostly) summer designs utilizing all of the colors found at the shore. I love her choice for the cover (the design is Storm; that stitch pattern is fantastic, and I think its provenance can be traced to Robyn Chachula's Crochet Stitches). I have included photos here of my favorite designs from the collection. 

Deep Blue Sea

Shoreline

Deep Blue Sea is not only a unique shape - trapezoid from a beginning half-circle - but is an excellent pairing of stitch and yarn. The same thing holds for Shoreline - I love the colorway used to highlight stones along the shore, and graphic black and grays are always a winner with me. Coastline is a cross between a poncho and a pullover - it is a fresh garment shape and in the soft beige/gray green of the Anzula Fiber yarn used, this design is very striking.

Coastline

Two other garments and six additional accessories round out this collection that Whooley places within her love for the western coastline of the United States. She also spends a fair amount of her introduction going over her favorite seaside places along said coast. Because I also know the lay of the land here in the west, I was a little surprised when I kept flipping pages and noticed that all of the designs were photographed in front of a fresh water lake. Karen acknowledges this at the end of the book, and I expect there is a fun (or at least memorable) story involved in the reason for this. That is, sometimes, the way self-publishing goes.

Whooley includes charts and schematics in her written instructions for each design, so crafters can choose the method that best works with their making style. I personally would rate all of these designs suitable for intermediate crocheters; Karen describes these designs as being suitable for anyone "who is comfortable with the basic crochet stitches." Several of these designs do incorporate shaping (and some of it unique), so if someone has yet to make a garment, a few could fit the bill in this collection (especially Coastline and Mist, which are very forgiving). While the cover tank isn't too difficult in terms of shaping, its stitch pattern rests on post stitches which can be a challenge for someone comfortable only with basic crochet stitches. I think sometimes designers (and I have, in the past, been guilty of this) give makers all kinds of technique and stitch credit when, in fact, that credit might be just a tad aspirational. A maker's desire can, however, overcome a lack of experience with a stitch or technique.

In the end, this is a well-rounded collection with something for most crocheters. If you are looking for some pretty designs to span the end of summer into early fall, I can surely recommend the designs in Coastal Crochet. They should keep a hooker happily making through well past the end of summer.

Reading Round-up

Everyone – it is August. August! August. I have already started to see Halloween items in the stores. Man oh man, where has this year gone?

I realized recently that I had not perused any new (or recent) crochet or knit books in quite a while, so I decided to check out a bunch from my local library just to see what was up in book titles.

Initially (of course), my search and perusal was bounded by those titles carried by my local library. While I have an amazingly awesome local public library system, it nevertheless does not carry every knit and crochet title out there. At least on the crochet side of things, they definitely are missing some recent titles from Interweave, as well as the most recent book from Dora Ohrenstein. While I must give honorable mentions to Modern Crochet Mandalas (edited by the in-house Interweave editors) and Vintage Knits by Marine Malak and Geraldine Warner (those old designs have stood the time test), there were two crochet titles that most interested me - the first, I am admittedly a little late on the review (it came out in English last summer), and the second is an updated version of a classic.

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Crochetterie by Molla Mills is, in many ways, the modern anti-crochet design book. Editors spend considerable time and energy trying to curate crochet fabric and designs that fit into knit fabric’s mold, with (some) historically disastrous results (can anyone say overweight crochet cable pullovers?). Ms. Mills takes basic crochet stitches, goes with the grain, that is, the strength of crochet fabrics created and, situating her designs squarely within her native Finland, has produced a book of designs that is equal parts hip, surprising, and aesthetically pleasing.

You will not find one lace crochet shawl in Crochetterie (because you know I was looking). In fact, other than a filet crochet soccer bag, there’s no lace to speak of anywhere in the book. However, if you are looking for unconventional accessories with bold lines and color work, this is absolutely the publication for you. The book is broken into four main design chapters – home, clothes, travels, and equipment – and there are designs in each chapter that jumped out and called my name. I particularly liked the “Do Epic Shit” poster (yes, it says that!) done in stranded black and white double crochet, the Wayfarer jumper (which is modeled by her dad, but can absolutely be a unisex design), bow ties for man and beast, and an amazing Folk Bag are just some of the stellar designs in this compilation. Ms. Mills has also created a “man made” tag in single crochet thread (again, black and white) that can be liberally applied to most any piece in the collection. It looks most awesome on any of the bags or cases in the collection. I particularly liked it on the Lumberjack’s Backpack.

There’s also a section on equipment as well as on self-care, including stretches for the crocheter. What makes this title stand out to me, however, is how much of Ms. Mill’s life is represented in the book – from her tale of losing her design notebook to featuring her family and artistic friends throughout – it is, in many ways, deeply personal and very engaging. Do be aware that, since it was not originally written in English, some of the conventional crochet nomenclature and technical directions are not present. Nevertheless, a seasoned crocheter will have no issue quickly grasping how things are explained.  Makers should also be prepared for a lot of notions use, as well as leather, other mixed media closures, and other non-crochet finishing touches.

Simply stated, I love this book. It will make its way into my personal library, and I’m already working on a few of the designs.

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I have had Jan Eaton's 200 Crochet Tips, Techniques & Trade Secrets (shown on the left side in photo at left) in my personal library for, like, ever. It is my go-to book when I have sticky design questions, as the tips and tricks in it are always a great springboard in helping me solve my own particular design dilemma. When I heard that it was being updated, I was fairly thrilled. 350 Crochet Tips, Techniques, and Trade Secrets has just been released, and I managed to get my hands on a library copy. 

Initially, I am not certain exactly where the tips and techniques were increased - there are exactly the same number of pages in the same number of chapters in the book. I compared my old 2007 book with this latest version - page by page - and found only 10 noticeably different pages covering 5 different techniques, and in four of the five instances it was more of a change in book layout and visuals; only in the 'garment shapes" section is there actual content difference (and I, admittedly, do like the updated material here). 

Having said that, if you don't have the previous version of this book in your personal repertoire, I would highly urge you get the updated edition. Eaton is one of our best crochet treasures, with knowledge to spare. Your library will be all the richer for it. If, like me, you already have the initial version of the book ... well ... I think it will still serve you well for many years to come.

This Is An Easy, Exciting Post

Everyone, today is all about the book. Go here for more. Eep!!!!!

Jumping Out of My Skin This Fee-Fi(ber)-F.O. Friday

Well, the initial shrink wrap packaging has finally come off my year-long fiber/design/artistic odyssey:

I have (willing!) sacrificed all other self-publishing projects for this - my first full-fledged, soft-cover, come-hell-or-high-water printed book. Me. Alone. Solo. Seulement. To say I am beyond excited and proud and scared and excited and oh, did I say excited yet? would be an understatement. Amazingly enough, I still have designs in the publishing pipeline (that is, published by others) for this year. To say this has been my busiest publishing year to date would be an understatement.

I'll be unveiling/revealing all via the publication's own blog here between now and the end of the year. 

I'll be adding social media linkies to the blog as they become available/relevant. Please follow the blog, spread the word, pin things, do whatever you feel comfortable with, social media-wise, to spread the word. 


Hang onto your seats, people, it's going to be a grand and (hopefully) glorious ride to the end of the year.

Now please head on over to Andrea's place at Wisdom Begins in Wonder to see what other fiber projects are riding high this week.

(Just Another) Melange Monday

Since I haven't written a Monday melange post in a little bit, I thought I'd tackle one this week.

                                

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I'm always a little behind in movie-watching: I've just recently seen (on DVD) Steven Spielberg's Lincoln. If you haven't seen it, I'd highly recommend it. Being a rather huge Doris Kearns Goodwin fan (the screenplay is based on her Lincoln biography), I was amazed at the issues that Lincoln faced in the last months of his life and how relevant they still are, even with the minor historical license Spielberg took in the film. Getting Congress to act on ratifying the 13th Amendment, concluding the Civil War (which went on far longer than anyone had anticipated), dealing with his wife and children (at times Lincoln almost seemed as if he were a single parent) - I found all of this had a present currency with some amazement. There is no doubt Daniel Day-Lewis and Sally Field were impeccable; I found myself riveted to the screen the entire time. It's been just shy of 150 years since the end of the Civil War, and we're still dealing with voting rights issues in the South, not to mention the rest of the related post-slavery social issues. Lincoln was a flawed, brilliant man of immense patience. Definitely rent the movie.

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I have just started reading A Short Life of Trouble: 40 Years In the New York Art Scene. It's Marcia Tucker's memoir, the first woman to be hired as curator of the Whitney Museum of American Art in New York, as well as founding The New Museum of Contemporary Art, also located in New York. I am still in the first chapter and already she is setting herself up as a curious, purposeful woman with a strong will. I like her already. And I really like the book's title.

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Finally, there's a Ravelry conversation happening about self-publishing vs. publishing by others that always seems relevant to me. While I absolutely love the complete freedom of self-publishing, I also am in no way giving up on third party publishing, the recent yarny gatekeeper incident notwithstanding. I have always maintained that for me, one process feeds off of the other. Having my designs be part of other's publications, and interacting with their respective processes, allows not only for some (albeit limited) structure, but for those decision makers with whom I share the same aesthetic sensibilities, a place to interact with sympathetic people in my profession. It doesn't mean that we always agree, and I think that's a good thing. Getting outside of my own designing head leads me to see other possibilities. What I cannot abide is a whole lot of heavy-handed top-down structure which, I fully realize, is somewhat unavoidable. I am definitely still working out within myself the right balance between doing things for myself and working on projects within existing structures. 

The good thing? I have plenty of time to figure it out.

A Lesson in (Most) Things Cultural and Sociological

Ann Mah's Mastering the Art of French Eating
Published by Pamela Dorman Books/Viking;
273 pages, hardcover

The memoir form is, perhaps, one of the most difficult literary forms to successfully pen. It is a delicate balance between self-aggrandizement and vulnerability; the best ones strike that balance perfectly, thus allowing the reader to make a meaningful connection. However, since the form is also the most accessible for many writers (whether beginners or well-seasoned), there's a sea of bad memoirs upon which one can cast a wide net.

So it is with great pleasure (and more than a little relief, really) that I highly recommend Ann Mah's Mastering the Art of French Eating: Lessons in Food and Love from a Year in Paris. Let's get the set-up quickly out of the way: Mah, a food and travel writer working (at the time) on her first novel Kitchen Chinese, along with her diplomat husband Calvin (who really delivers quite an heroic supporting role) move to Paris for what is, at first blush, a dream diplomatic assignment. Things get complicated rather quickly when Calvin delivers the bad news: for the first year of his assignment, he'll actually be stationed in Iraq. Mah's dreams of dinners à deux in quaint Parisian cafes are quickly dashed and replaced with lonely nights in their apartment eating toast (albeit with some tasty toppings) and speaking nightly to Calvin from the Baghdad war zone via Skype. So much for love in the city of lights.

Now, to be certain, Mah's problems are middle class - she's got a great place to live in one of the most exciting cities in the world. As she herself recounts (and I'm paraphrasing), she's got all the emotional and economic support any "trailing spouse" could need or want. Nevertheless, she's still a foreigner in a strange land, and is forced to deal with creating a meaningful life for herself (and all that entails in a foreign city), while at the same time dealing with the anxiety of knowing first-hand the danger her husband faces each day. 

I used both cultural and sociological in this blog entry's title because I was amazed at the breadth of experiences Mah shares with her readers in these 273 pages. There's definitely a whole lot of French history, travel, and food lore (and enough food locations throughout France to make this book almost necessary if one were planning a visit anytime soon). That I fairly expected. What reeled me in were her honest accounts of everything from French waiters who showed their exasperation at her beginner's French when ordering in the opening chapter, to her experience in a French citizenship class (an eye and ear opening as well as thought-provoking experience for Mah; having taught political sociology, I instantly identified with the instructor after the lunch break). Mah infuses her year of discovery with a healthy dose of 21st century feminism in all its complexity, as well as a willingness to admit to lessons learned that she never could have expected. Low on the self-aggrandizement, fairly balanced with vulnerability - a winning combination. I pretty much couldn't put the book down.

Definitely read Mastering the Art of French Eating if you want to learn about French history and food; certainly try the recipes, but stay for a personal story that will absolutely touch you, with an epilogue bursting with poetic justice. Merci, Madame Mah. 

(Just Another) Melange Monday

It's Monday ... time for melange. 

Initially, let me say I am thoroughly enjoying Goli Taraghi's short stories in her 2013 collection The Pomegranate Lady and Her Sons. Taraghi's writing has been described as accessible (it is), laced with mysticism (it is), as well as "constricted by class consciousness" (not certain I agree with the constricted portion of that). The mystical elements serve well the reality of tumult and revolution that marks Taraghi's Iran. The short story form allows it all to be digested in short, tasty, and easily manageable bites. I give this collection all the stars possible.

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If you're around the New York City area and have the time, I hope you'll check out my friend Ruth Marshall's latest exhibit Closely Knit: A Textile Analysis of Animals, the opening reception for which will be held this coming Wednesday, April 30th from 6:00 - 8:00 pm in Central Park's Arsenal Building. Her previous work (think endangered wild animal pelts meet knitting needles) has received wonderful reviews, and I have no doubt that this latest exhibit will be met with the same. The exhibit will be in the Arsenal Building through June 20th, dotted with talks throughout that time. Hit the above linky to find out more information and see Ruth's amazing work. And remember: no animals were hurt in the knitting of each life-like pelt.

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Finally, while I'm discussing other people's art, I really must mention a recently published book by a Ravelry friend and artist, Jacqueline Boyle. She's co-written and illustrated a book to be read to babies in the womb. Can't Wait to Show You: A Celebration of Mothers-to-be can be found on Amazon, and looks to be rather super, really. She's co-written it with a literacy specialist and they harnessed the copious amounts of research indicating the benefits of reading to babies in utero. I just love anything that promotes reading and literacy, as well as the sweet illustrations. My hat's off to Jacqueline - I've been viewing her art for a few years now, so this is an exciting new development.

My Fantasy Crafty Fiber Day

Well, it's day 6 of this year's Knit and Crochet Blogging Week, and I'm officially exercising my wildcard right to fill you in on my perfect crafting day.  Remember, it's my fantasy.

Where: NYC (it could also easily be Paris or Milan)
When: Probably fall
With Whom: My guy (when is he going to show up, anyway?)
                      and then meet up with 4 of my fibery gal pals

Morning: My guy and I have a leisurely continental breakfast in bed, delivered by room service at our boutique and oh-so-fashionable hotel. We listen to NPR, he reads or gets updated on his electronic device of choice and I get some comfy crafting done on my latest project.

After dressing, my guy goes his separate way (hey, he's entitled to his own fun) and I meet up with the 4 crafty gals - it's time for fiber shopping. We take a quick horse  'n buggy ride through the park to get our green fix, then head first to the LB store - the window is always so enticing, and I can stock up on some of their LB Collection fibers. Next up: Purl Soho for more yarny fun (as well as some serious button stash enhancement). Finally (before lunch): Habu Textiles, for my fix of fiber inspiration.

Lunch: In Chinatown or Tribeca, me and the crafty gals enjoy great food and even better conversation during which we revisit our purchases and oogle over all manner of stash enhancement. Oh yeah.



Afternoon: We head to Brooklyn for a visit with Jared Flood (who has graciously agreed to see us), so we can get a tour of the studio (because he gives tours all the time), pick up some yarn (because of course he's got some at the studio just waiting for us) and we get a sneaky peek at what the studio is working on. Perfect. Then, back to the hotel.

Evening: Drinks with my guy and the gals (with their SOs) where we all compare notes on the day. Dinner someplace relaxed and very leisurely, sans electronic devices. A nightcap in the oh-so-fashionable boutique-y bar or perhaps a blues club, if one is close by.

My fantasy crafty day is filled with fiber, friends and city fun - not to mention good food and no chores whatsoever. Now that's inspiring.

Happy New Year!

It's the first Fee-Fi(ber)-F.O. Friday of 2012 - can everyone believe it? This time between the holidays and mid-January is usually a time for me to be still, take stock of the previous year, and envision what I hope for in the coming twelve months. This year is no different, although I've also been incredibly busy with creative and other pursuits (more on this a little later down).

The most firm goal I articulated at the beginning of last year was to craft from my shelf meaning, if I wanted to make something, I would look to my own library of books and periodicals first for an appropriate pattern. Of the 40 projects completed in 2011 (40? That alone is amazing!), 21 of them were patterns from my library - either books or magazines or paid patterns. Of that number, 13 finished objects are from either my own personally designed and published patterns, or designed from books whose main purpose is to provide the tools for one to design one's own items. I'm not certain what measure of success in this goal 21 of 40 actually is, but I'd qualify those numbers as a mild success.

What is far more amazing to me is the number of patterns I wrote and published last year. Folks, I am absolutely blown away. At the beginning of 2011, I never envisioned publishing 7 patterns, never. I already have six confirmed and in the pipeline for 2012. No one is more surprised, pleased, excited, just a wee bit nervous, and absolutely, positively thankful than moi. I think I've envisioned living a creative life from a very early age, but it didn't start to take any real shape until 2007 (although I picked up my first 35mm camera on my way to South Africa in 2000 and that turned out to be a creatively momentous milestone).

I continue to learn that trusting in myself and my own decisions usually pays off. In a culture that constantly seems to reinforce mindnumbing conformity (despite the U.S. mythology of rugged individualism), or manipulating individual action for corporate or other gain, going my own way might seem distancing to some, but space and time are vital for me. I hope I continue to be able to take the time I need in 2012. That has been one of the biggest gifts of all to come out of the imperfect perfection of 2011.

And so, I start off 2012 the same way I started off 2011 - with a painting, a shawl and a book. For the last two weeks I've been painting up a storm, and although the photos aren't perfect, you can see a sample of one of them to the right. Humanity, a tryptich, is a riot of color. It was a lot of fun to paint, and with holiday music providing a great backdrop, I definitely hit my painting zone during its creation.


The shawl I have to share with you was finished January 2nd, but still officially made the deadline for completing my challenge of 11 shawls in 2011. Phew - I can't believe I did it! My Greeny Warmth Stole (from this Drops pattern) is all bulky weight mohair - lightweight and oh-so-warm. It's a generous 21" x 57", so when not around my shoulders, it will definitely keep my lap warm (as it did while I was crafting it).


The book I want to discuss is Tove Fevang's Totally Simple Crochet. Translated into English last year, this is one of the best beginning crochet books I've come across in a while. Fevang starts at the most basic beginning - with the humble dishcloth. Now, I'm usually not a fan of dishcloths, yet in her hands, the dishcloth rises to a thing of simple beauty. Really. And for the novice crocheter, making each of the discloths in this book is the perfect basis for the rest of the patterns that follow - including the stylish cover scarf and a poncho that I absolutely love. Where Marie-Noëlle Bayard's Crochet! (reviewed here) has rather sophisticated patterns for the novice (which I admittedly love), Fevang's patterns are classic and straightforward. They eminate from a designer steeped in the home needle arts tradition. For a beginning crocheter, I cannot recommend this book more highly.

Finally, I want to thank all the blog readers who peeked in during the 12 days of George Bailey. Some of you left lovely comments (George Bailey was blushing, just so you know). If Baa-me Kniits, Erin in Beantown, and Nicole get in touch with me via email, each will receive my La Vitre scarf pattern (still only in limited release) for leaving pithy comments that made George Bailey smile from whisker to whisker.

Thanks so much for being one of the best parts of my 2011; I'm looking forward to more of the same in 2012. Now don't forget to check back with Andrea's blog to see how everyone else is starting off the new year. And to those of you who wish to join us, Andrea's currently hosting a JAL for the La Vitre scarf pattern here on Ravelry.

It's Book Review Fee-Fi(ber)-F.O. Friday

Posey in the Granny Square, my sample from
Robyn Chachula's Crochet Stitches Visual Encyclopedia

Hello everyone, and welcome to this week's books-o-rama. Unlike some reviewers, I actually paid for my books (!), and so patiently waited until they arrived. (I'm certain the authors and publishers are happy about the payment thingy. :) )

First up: Sarah London's Granny Square Love (North Light Books). Australian crocheters seem to have a particular fondness for the granny square (I follow two Aussie granny square designer/bloggers - see my blog roll to the right), and Sarah's book does not disappoint. While geared for a beginning crochet audience (and the wonderful visual granny square tutorial at the beginning of the book will get any crochet newbie up to granny-good speed), the strength of the book rests clearly on Sarah's commanding use of color. This is a grand and glorious explosion of color! If you're into tans and beige, this might not be your cup of tea. However, if you love color and are looking for inspiration (whether or not a crocheter), I'd recommend adding this to your library.

Best use of the granny square goes to Sarah's wonderful pillow designs. There are several, in several sizes, and all of them wonderful. No wonder they grace the book's cover. Most original use of the granny square has to be the granny-covered headboard. Sarah has a particular aesthetic (think romantic English flowers meets groovy 60s) and within that parameter the headboard just works. She also has a great way with the camera, and almost all of the photos show off the designs to their best advantage. One minor hiccup: the placemat photos. There isn't really one that shows it off completely, although the toast looks great, and the requisite Vegemite jar is prominantly displayed.

The pattern directions are both written and charted, using U.S. crochet terms. They are clear and very easy to follow. Additionally, Sarah doesn't really stray too far from the traditional granny square - another plus for new crocheters. Her strength is color, color, color. And in that regard, this is a hands-down winner.

The second review: Robyn Chachula's Crochet Stitches Visual Encyclopedia (Wiley Publishing). Every designer worth their designing salt has several stitch reference books in their personal library, and I am no different. I purposely didn't read any advance press on this book, because I wanted a clean, clear book palate from which to review, although I will say that it was the strength of the author's designing chops that led me to make the purchase. Robyn has a fun, fresh design style, and I like her engineering approach to design (break everything into component parts and then put them back together again).

I was pleasantly surprised with the comprehensive array of stitch patterns across a broad spectrum of crochet techniques included in this encyclopedia. Chachula did her homework and successfully compiled a wide range of stitches not found in other stitch guides. Good on her. The cable stitch section is simply wonderful; the Tunisian stitch patterns section of the book is pure joy (to someone who loves her tunisian crochet hooks). My favorite chapters are 7 and 8 - square and hexagonal granny squares, and flower, snowflake and joining motifs, respectively. It is from these chapters that I worked up the sample (pictured at the top of the post). Even on my scanner bed, the strength of Chachula's motif work shines bright. She brings an almost Venetian lace quality to many of the square motif designs. I find them superb.

While I see the need for an edgings chapter in such a guide, I found the one here so-so. I guess I am spoiled on every other edging attempt in the post-Edie Eckman Around the Corner Crochet Borders world. I wish, instead, some attention might have been spent on hairpin lace.

My biggest beefs with this book are more technical/publishing in nature. Initially, the motif I worked up has a mistake in the written directions. However, the pattern chart set me straight (and all designs are written and charted in this book). While each row of a chart is numbered and in different colors, these charts are not for the faint of heart. They were created for the intermediate/advanced crocheter in mind - and one comfortable with reading charts.

I also found the layout of the book rather blah and lacking in pizazz. The design photos were rather perfunctory and there was far too much white space on most pages (which could have been put to much better use). Again, using Around the Corner Crochet Borders as an example, Eckman's book is half the page size (quite literally), yet each border photo takes up almost an entire page in vivid detail. Not so with Chachula's work, which is really a shame.

Additionally, Crochet Stitches actually feels like an encyclopedia. Wiley's publishing forte is in the technical/text book arena, so I suppose I shouldn't be surprised. Yet I am.  This is also the same Wiley Publishing that put forth Fiber Gathering. A quick comparison of the cover pretty much makes my point:

Overall, I am excited about the design possibilities of Crochet Stitches. Like Nicky Epstein's Block by Block (reviewed here), my creative, designing juices are already flowing. Stay tuned for future projects inspired by this book. Just don't expect a lot of visual bells and whistles should you decide to add this to your personal library.

Ok - now head on over to Andrea's blog for a look-see at what everyone else is whistling about this Fiber Arts Friday. And if we don't meet in the blogosphere again until next Friday, have an awesome Thanksgiving (for every U.S. reader). I can't wait for leftovers.

Tote Recipe

Since several readers had questions (as well as very nice comments – thank you!) regarding my Building Blocks Tote, I kindly provide below how I got from here to there:

Ingredients:

1 Nicky Epstein's Knitting Block by Block book

700 – 800  yards of worsted weight yarn (I used Cascade 220 and Cascade 220 Quatro)

Size 7 needles (or size appropriate to get gauge desired)

Size G (4.25 mm) crochet hook

1 yard fabric of choice

Tapestry needle

Sewing needle and thread

Buttons or other embellishments of choice (I used shank buttons of varying widths, plus one 1” shank button for closure)

Directions:

Determine which blocks you would like to make for your tote. I used 4x4 Pulled Rib (p. 19) and Fairy Leaves (p. 102) for the main body, and an altered version of French Braid (p. 181) for the gusset.

Knit the main tote body blocks first. When completed, block each to a 10 x 10 measurement. (Note that my Fairy Leaves were kept in pieces and blocked to 10 x 5.)  It is important to block your tote body’s blocks first, because there will be some shrink-back once off the blocking pins, and the final measurement is key to making an appropriately sized gusset.

Next, determine the placement of your blocks. After some deliberation, mine went something like this: 

Knit the gusset. I altered the French Braid block as follows: cast on 30 stitches and work in braid pattern for approximately 45 inches (or length required to fit your blocks), then bind off. Block gusset.

To determine the length needed for gusset, measure main body blocks once, post-blocked, they are placed in desired position on the two sides and bottom. Add these measurements. The sum of these measurements is the required length you should knit your gusset.

Post-knitting Finishing

Sew blocks together to form the front and back pieces of your tote’s main body. I utilized the slip stitch crochet method with a size G hook (insert hook into stitch of each block, pull up a loop and through loop on hook). Once together, sew any embellishments desired to each side of bag. Position button on front of bag to be used for closing. Sew in place

With right sides of front and back pieces as well as right side of gusset facing each other inward, pin front and back pieces to gusset. Sew main tote body pieces to gusset.

Create handles for the bag. I created two crochet handles, each 1” x 25”, using single crochet and post double crochet stitches. Block each crochet handle.

Cut a piece of fabric 44” x 25”. Fold in half with right sides facing, so you have a 22” x 25” rectangle. Allowing a ½” seam on each side, sew each short side seam. Turn your fabric right side out. You will now have a rectangle with three closed sides and one open side (the top). At each corner of the lower edges of the lining, sew a seam 2” from each corner to form a triangle. Then tack the corners of each triangle to the bottom of the lining. Turn the top edge of lining over ½”.

With wrong side of lining out, fit into bag, with right side of bag out. Whip stitch top of lining to top of bag, just inside top of bag pieces.

Pin handles to bag in desired position. Seam to bag.

With crochet hook, determine the middle top on the back of the bag. Work 8 slip stitches in the middle of the back of the top of the bag. Using post double crochet stitches, work until 4” in length. On next row, create a button hole over the middle 4 stitches. Work two more rows of post double crochet stitches. Fasten off.

And voila! A tote is born. Remember, these are my design choices. You should feel free to look at this recipe and make any substitutions that fit your fancy. Also keep in mind that these directions assume certain knowledge of knit and crochet on the part of the reader. If you have any questions, of course I'll do my best to answer them. 

I hope you enjoy creating and using your tote!