The Ythan Hat

Let's talk a little about what goes into a producing a design. I will usually start by sketching and annotating the sketch with keywords. Then I start to look for yarns that will work with the idea and if I haven't worked with the yarns before, I will swatch to check stitch definition and drape. Next on the agenda: a skeleton pattern. This pattern is pretty rough-looking, though you'd be able to follow it without any difficulty. It has a full set of instructions, a rudimentary chart and my first sketch. The sample is knitted using the skeleton pattern. After the sample is knitted, I will clean up the pattern:  eg. making sure the same abbreviations are used throughout, special instructions are spelled out, flesh out the materials section, and checking the charts are clear and correct.

Now comes the stage where the other half of Team Bookish gets involved - and that is him in the photo to the left. David will redraw my preliminary sketch and work on the actual photo shoot. A photo shoot includes finding the right location, making sure that the clothes work with the knitted item, and obviously taking the photos.

Working on the Ythan hat pattern was no different except that suddenly David had to step in front of the camera and I had to take the photos. It was interesting to swap places but try to look at the difference between the photo of David and the photo he shot of me some five minutes later. One of us is a talented photographer - the other one is a middling amateur!

I am not posing in the photo, I'm not dressed for a shoot, it is the same location, and we are using the same camera .. but Dave's just a far better photographer than me. Something about the way he uses light and understands depth of field.. well, I just cannot do what he does with a camera.

However, I can knit and I can design and this is the Ythan hat.

Ythan is the fifth pattern to be released from the Doggerland collection. The first four patterns were all about the periphery of the Doggerland region but I wanted to travel into the heart of Doggerland with this pattern.

Ythan is inspired by the carved artefacts - particularly antlers - that have been uncovered from the seabed underneath the North Sea. Most of the artefacts just have a few lines incised across the antlers - nothing major in terms of decoration or ornamentation - but I wanted to explore the idea of carved lines and how simple lines across a surface can be both functional and decorative. Knitted ribbing is a great example: it is elastic (functional) but also provides vertical lines (decorative). And what would happens if you sudden added texture (twisted stitches) and a very simple motif of vertical lines to the ribbing?

I'm tempted to say that just like the North Sea, this design has a lot more going on under the surface of things.

(And next time David will be back on photography duty.)

How the Land Lies: The Gillean Hat

How do we understand a landscape? From satnavs and street lights to bus routes and border controls, our twenty-first century landscape is controlled and marked in a myriad of ways. We are told how best to reach our destination (the destination being more important than the journey!), not to trespass, and to have our passport ready for inspection. Not only does Google Earth enables us to walk the streets of cities we will never visit from the comfort of our own homes, but computer-generated landscapes can end up feel more real than the landscape outside our windows.

(I still remember the shock coursing through my body when I first played Diablo II and discovered the village in Diablo had been burned down. It was a real, physical reaction to a simulated environment.)

Thankfully human beings still want to feel we are part of our actual, real surroundings.

We want to inhabit our landscape emotionally as well as physically. We take shortcuts ('desire lines') when the official path seems too circuitous; we respond to stark urban environments by planting trees and flowers; and we turn spaces into places by telling tales about them: "This is where I played as a child" and "Turn left at the tree that was hit by lightning."

And the Gillean Hat is partly a response to this story-telling impulse, this desire to belong.

The Gillean hat is named after Caisteal nan Gillean - a Mesolithic archaeology site on the Scottish island of Oronsay. I am fascinated by how we choose to name sites and how many layers of stories we can find in place names. Caisteal nan Gillean literally means 'the fort of the boys' and since we will never know the actual Mesolithic name of the site, the boys will linger.

But there are other ways of marking your place in the world when words are no longer remembered and myths about a place have ceased to be told. Caisteal nan Gillean has plenty of evidence that it was a place tied to memories, stories, experiences and meaning. People inhabited the island on many occasions and left behind traces of their lives.

I am using a stylised shell/limpet motif in this hat. Oronsay is famous for its shell middens - solid evidence of human activity in a landscape - and I wanted to throw a handful of these shells across a hat. The hat uses beautiful organic Faroese yarns that reflect an isolated island environment: a grassy green flickers at the edge whilst the two greys capture the idea of shells strewn across weathered stones. A link to a past landscape in a own present-day world.

If you want to read more about how we relate to landscapes - both internal and external ones - I recommend Robert Macfarlane's beautiful The Old Ways: a Journey on Foot.

Pattern: Hoxne

Hoxne is the second pattern to be released from the Doggerland: Knits from a Lost Landscape collection. The shawl is named after a small village in Suffolk. Hoxne was inhabited as early as 320,000 years ago but the site shows signs of continual flint tool production through the ages. Flint is one of the key materials of North European prehistory - and I knew I wanted to design a shawl evocative of flint tools.

I know flint very well.

My childhood landscape was shaped by the ice age: softly rolling hills and a large moraine we called Tornved Bjerg (literally: Tornved Mountain).

Local farmers cursed the vanished glaciers for leaving so much debris behind as they worked the stone-filled fields, but I loved running across the newly tilled land and finding pieces of flint. I held the small stones in my hands as though they were gold nuggets. They were warm from the sun, yet cool to the touch. They were soft to hold, yet had sharp edges. I didn't realise until much later in my life that I had probably been picking up worked pieces of flint in a landscape full of prehistoric archaeology.

Hoxne reminds me of being that child - so inquisitive and seeing something special in everyday things. I hope I haven't lost either quality.

The shawl is knitted in Snældan 1ply - I keep referring to this yarn as Karie's Favourite Lace Yarn and that still holds true (I should write a Desert Island Yarns entry at some point). It is soft, holds so much character and it blocks out beautifully. Snældan is still spun in the way that it was spun in the 1940s and I love how it feels alive in your hands. Some yarns are processed beyond recognition but Snældan 1ply retains this magical feeling of authenticity and landscape which is so central to what I'm trying to do with Doggerland.

The Island Wool Company will be featuring Hoxne on their website - keep a look out and do browse that Snældan section. I continue to be thankful that Fiona & Daniel have chosen to make my beloved Faroese yarns available for UK knitters. It makes my life a lot easier!

Tomorrow I will be heading to Woolfest with my Glasgow knitting group. If you see me, do say hello!

Doggerland: Ronaes

So here we are. I released the Ronaes shawl pattern on Monday. It is the first of the Doggerland patterns to be published and I do so with a sigh of relief.

I'm really proud of Ronaes - it was one of those designs that just fell into place really quickly and where the finished object looked even better than I had imagined.

(I have issues with the way I look in the pattern photos: oh, all the issues that arise when you stare at your own face and body as you edit photos and patterns - but I think that's a topic for another day.)

The original Ronaes was knitted in Garthenor 1ply - a beautiful and bouncy laceweight. It's called a cobweb on Ravelry which I think is a touch misleading. It's more like a heavy 2ply or a light 3ply. Maybe if I spun yarn I'd have a better idea? Looking at all the different yarn choices made for Ronaes in the Doggerland KAL is my favourite activity at the moment.

Also this week I could finally share some really exciting news. The Island Wool Company is the UK importer of the fantastic Snældan yarns. They love the Doggerland collection so much that they asked if they could team up with me. Imagine that. How could I say no? So, apart from Ravelry, the Doggerland patterns will pop up on the Island Wool Company website. I have already ordered some Snældan 2ply in Mist, so I can knit myself another Ronaes.

And in final Ronaes news, Louise Scollay of the excellent Knit British blog took an early look at Doggerland - and especially Ronaes:

What excites me about this collection is the connection to landscape and the past, and also a sense of otherness – something I often feel keenly in my own landscape.

So here we are.

The past fortnight has been crazily busy - but I'm happy to say that I'm meeting some absolutely fantastic people as part of the general insanity. If you're reading this, you are one of them.

Bookish Knits in Knit Now

There is a reason why I call myself Karie Bookish - I love books and I love reading. Family lore has it that whenever they couldn't find me I'd be hiding somewhere with a book. I also love knitting. When I was asked to design a number of bookish knits for Knit Now Magazine, I had to pinch myself. What a dream assignment.

The first pattern is the Eyre Shawl.

I reread Charlotte Brontë's Jane Eyre in 2011. The novel was extraordinary - far richer than I had grasped when my 14 year-old self had first read it. Jane was a study in self-respect, self-reliance, and intelligence:

“I can live alone, if self-respect, and circumstances require me so to do. I need not sell my soul to buy bliss. I have an inward treasure born with me, which can keep me alive if all extraneous delights should be withheld, or offered only at a price I cannot afford to give.”

But Jane wasn't the only reason why I wanted to design a shawl. The housekeeper at Thornfield Hall - the inimitable Mrs Fairfax - was constantly knitting throughout the novel and kept having small asides about how she really had to finish this row..

The recent film adaptation featured a number of knitted shawls - one spawned several garterstitch shawl patterns on Ravelry - but I wanted to take a different direction. I wanted to design a shawl that was both as delicate and strong as Jane herself - something which Mrs Fairfax would have enjoyed knitting.

My Eyre shawl has an all-over chevron pattern which gently fans into a leaf border. It is very easy to customise: like most of my shawl patterns, Eyre has a design feature which means you can repeat the central chevron stitch pattern as many times as you'd like before starting the border. I like shawls like that because it means you can customise the size of the shawl to suit your yardage.

The sample shown was knitted in Malabrigo Lace in "Applewood". It blocked out beautifully and is wonderfully soft.

I also designed a hat and fingerless gloves set for the magazine.

I set myself the challenge of designing an Art Deco-inspired accessories set which would be accessible for beginner knitters. That means everything is knitted flat. It is a bit of a controversial decision in these Everything Must Be Knitted On Circular Needles times, but I've spent so much time teaching beginning knitters that I understood how frustrating it can be to see a beautiful pattern and not be able to knit because you're not yet confident enough to use double-pointed needles or circs. So, everything is knitted flat.

F. Scott Fitzgerald's The Great Gatsby was my starting point - after all, Baz Luhrmann has an adaptation out later this year and the High Street is already filled with Art Deco inspired clothes. The 1920s silouette was boyish and simple, but the details were everything but. I wanted to capture the lavish and carefree world of Gatsby and I did so by choosing a cashmere-blend yarn and use a glitzy metallic yarn as contrast. Likewise, I decided against designing something practical - this Gatsby set will not keep you warm, but it will make you feel glamorous and feminine.

The set is knitted in Rowan Cashsoft 4ply and Anchor Artiste Metallic in "Thunder" and "Blue" respectively. The hat is photographed as a beanie but is meant to be a very nonchalant beret à la Faye Dunaway in Bonnie & Clyde.

Knit Now Magazine issue 18 will be in stores from Thursday. You can order it online too.

PS. Knit Now has a history of supporting some truly talented indie designers like Jacqui Harding, Anna Elliott, Ella Austin, Elly Doyle, Anni Howard, Woolly Wormhead and Rachel Coopey. Just one reason among many why they are awesome.

The Light Is Pale & Thin

Oh, 2013. You are off to a slow, slightly bemusing start. Life is slowly creeping back into Casa Bookish. The suitcases are nearly unpacked, the laundry basket is nearly empty, and the fridge has been emptied of all holiday food. I still feel exhausted and I get easily winded, but I am feeling much better than I did just a few days ago. We've caught up with several friends and everybody seems to have been laid low with something this past holiday season. One thing is certain: I'll be getting the flu jab next winter season! No need to go through this %&¤#! again if I can help it..

So, I've been crossing off items on my giant To Do list. One of the top items was "preparing patterns for release" - and I crossed that one off my list today. All three yarn club patterns are now available for general consumption via Ravelry - you can buy them individually for as a bargainous e-book collection. Seeing as the original yarns are not available, I've worked together with Old Maiden Aunt yarns to find good colour substitutions.

At the same time I am busy designing some new things - I currently have two new designs on the needles and three other designs somewhere in the process between sketch and knitting.

In-between all my sample knitting, I have been knitting on my Bute cardigan. I cast off the second front last night which means I only have two sleeves to go, huzzah! I'll be block the back and fronts this week and hopefully get the body seamed, so I can pick up stitches for the button-band. I have a couple of different button styles to decide between but we'll cross that hurdle when we get to it.

Resident Photographer ran off with the camera today or I'd show you the unblocked pieces.

And if a blog entry could have a colour, this entry would be pale blue-grey with a dash of pink blush. The colour of winter slowly turning on its heel. Just like this photo from the Botanic Gardens we took late last year.