The Project of In-Between Time: Orkney

For the past fortnight I have been travelling. I am used to travelling but usually I travel for work, not pleasure. I had a lovely time and I'll be sharing stories from that journey soon. Suffice to say that my batteries have been recharged. I spend so much time working on things that I cannot show you until they have been published. However, I do work on the occasional design by other people. My Bute cardigan is nearly done, but unfortunately I made a major mistake when I cast on for the fronts. The Small and Medium sizes are practically identical up to a certain point and, yes, my brain chose the wrong increase. As a result one front is size Small and the other is size Medium. I will have to reknit the wrong size front (which would be the smaller of the two, of course) but luckily I have enough yarn for that.

So I cast on for another project and it is one I work on when I do any public knitting or have any in-between time.

This is the Orkney cardigan from Rowan 52. I have changed the pattern quite a bit - though not any essential parts!

Instead of knitting it flat, I worked the body in the round with steeks (including the neckline and the armholes) as I didn't see the need to knit a traditional fair-isle cardigan flat and then seam it. So much extra work for no good reason! I added 9 stitches for the front steek and 7 stitches elsewhere. First I secured the steek with crochet stitches but I didn't like the bulkiness (particularly around the armholes) so I redid the edges using the zigzag on a sewing machine - much better.

I also changed the colour scheme significantly.

The original cardigan uses 13 colours in Rowan Felted Tweed DK and is rather bright when you see it in real life. The Rowan photos show it as being rather muted, but you have yellows next to purples with turquoise is another of the dominant colours. I just wanted to take the colour scheme somewhere else and turn it more autumnal. I did a coloured in version of the fair-isle chart before I changed colours around so I could see which colours were dominant where - I really recommend doing this if you are planning on recolouring any big fair-isle project. In the end I substituted the Camel (beige) with Phantom (brown). I used Ancient (a blueish khaki green) instead of Bilberry (purple) and Rage (red) instead of Watery (turquoise). I am generally using fewer colours as well as they tend towards the cool green-brown-red end of the scale.

Interestingly the sleeves use the same patterns as the body but the colours are changed around. The change in colours make a huge difference and people have been astonished when I point out the patterning is identical. I'm trying to impose a certain order on my colour scheme by using Rage on the sleeves whenever I've used Ancient (and vice versa) and Camel where I've previously used Celadon, but I'm not sticking to any substitution rules, really. Whatever looks nice. The sleeve looks a bit brighter than the body and I've used less green than I had anticipated, but I like how it looks.

Ravelry users reported that the fit was on the snug side, so I have gone up a needle size and also a size up from my usual Rowan size (which is Medium) - the lower part of the sleeve is still snug and I think the body will be a tight fit, but we'll see what happens when I block the cardigan. Felted Tweed DK likes to loosen up during blocking.

And I am already thinking about buttons. All of the buttons have been purchased from Textile Garden over the last year or so. I am somewhat partial to the lower left set but I do have some plain coconut shell buttons I could also use. First, though, I need to finish the two sleeves and the bands, block the lot, and ease in the sleeves. I am in no hurry with this cardigan so there will be plenty of time to decide upon buttons. Maybe even purchase some more?

I think I'll have enough yarn left to do another colourwork cardigan - maybe one emphasising slightly richer colours?

With Love from Glasgow

When you read this, I am currently on a much-needed break. The past year has been a whirlwind of activity and I was startled when I realised I hadn't had any time off since Christmas 2012 (when I had the flu so I am not sure it counts). I have spent some days on Aberdeen with family and now I am making my way towards London (where I'll be at the Pompom Magazine Christmas Party - hope to see you there?) and then Denmark. Hopefully I'll return with my batteries recharged and some major decisions made. I will be knitting whilst I am away - I am currently collaborating with Quail Books on an exciting project and I'm also working with Knit Now magazine on what promises to be their best issue yet - but I am not stressing about deadlines for once. But first I am really happy to unveil a collaboration with my original partner-in-crime, Ms Old Maiden Aunt. We had so much fun running our Sherlock-inspired project in 2012 that we wanted to do something similar this year. Instead of doing a three-month long club, we decided to do a one-off kit that combined our love of Scotland, local history, and Art Nouveau. We began working on this some eight months ago  so when Lilith received the small booklets last week, I whooped.

The Tenement Tiles pattern is inspired by the late 19th century tiles found throughout the Victorian apartment blocks ("tenements") in Glasgow. The pattern booklet includes a small essay about the tiles and Glasgow - the story of the tenement tiles is absolutely fascinating (it involves both cholera and false teeth!) and I have also included photographs of some of the tiles in my neighbourhood.

I see these late 19th century tiles every single time I leave my home - the entry way to my tenement is tiled with deep green titles depicting stylised lilies. Lilith and I began working on how to work the tiles into a design and the obvious solution was colourwork.

The Tenement Tiles gloves come in three sizes and the kit includes an exclusive Old Maiden Aunt colourway that won't be available anywhere else. We were really passionate about trying to capture a slightly weathered green-grey and Lilith came up with a colour that just blew me away. It is the exact shade I had in my head when I first started sketching all those months.

(An addendum: Glasgow's the first place I have really felt at home and it feels so very poignant to have worked on something so quintessentially Glaswegian at a time when Glasgow has been hit by tragedy.  It feels even stranger to be writing about my beloved home when I know this blog post will be posted when I am not here. Glasgow has a reputation of a hard, tough city but it is a city of beautiful architecture, amazing art and (most importantly) an incredible community spirit. )

Many thanks to the overwhelming response to my post about appreciating hand-knitting. I have much I want to say in response to your response but first I have some travelling to do. Also, in lieu of a big gift guide for the knitters in your life, I have compiled a small Pinterest board of some good gift ideas.

On Devaluating Hand-Knitting

It's been a couple of weeks and I've taken some time off. I have more time off soon which means I'll be away from my office for the first time since .. Christmas last year. Ahem.

I have collaborated with the very lovely Old Maiden Aunt on something which will be released whilst I am away from my office. We began plotting this almost eight months ago. It is crazy how quickly time flies. The photo shoot happened earlier this week - you can see the beautiful Glasgow tenement buildings to the left. Ah, don't let the winter sunshine fool you. It was bitterly cold.

But let us talk a bit about knitting. It's a bit of a ramble from here on in.

Earlier this week, I met a talented girl who had designed and knitted a 4-ply jumper for a client. The client had asked the girl to supply the yarn as well as design/knit it. I asked how much the girl had charged?

An entire 4-ply (fingering-weight) jumper from design conception to finished item and including the yarn. £35. Let me repeat that: thirty-five pounds.

When I asked her why she'd charged that little, she shrugged and replied: "Because the client didn't want to pay anything more and even baulked at £35". I got very, very angry at this stage. I didn't get angry at the girl because she was obviously just trying to make a little money. No, I got angry at a marketplace which so devalues hand-knitting to the point where a customer baulks at paying more than £35 for a custom piece (including materials!) and manages to get away with it. Make that a marketplace in which the customer manages to get away with it again and again because I have heard the same story many times.

That is not okay.

Why is it that hand-knitting is so devalued? Skilled artisan-makers like the girl I met are paid pennies when they should be earning pounds. Is it because hand-knitting is predominantly female-centric? Is it because history has taught the marketplace that hand-knitting is something poor people do to make ends meet and poor people can be exploited? Is it because hand-knitting is perceived as being 'a hobby' that people do between their 'real' jobs? I looked at hand-knitters and I am amazed at their skills, patience and talent. Maybe I am wrong - certainly the marketplace tells me so.

I have never knitted for money -  but I do get asked an awful lot if I am willing to take on commissions. Usually the punter wants me to whip up an aran cardigan because a machine-knitted acrylic version is deemed too expensive. When did we move from "mass produced" = inferior to "mass produced" = superior? To my mind, a one-off piece created by a skilled artisan using excellent materials should always be considered more valuable. How do we change this perception?

I am not an artisan maker and while I hesitate to label what I do, I'm probably more of an artisan makar. "Makar" is an old Scottish word for "poet" or "bard" - and I think of my knitting designs as a way of telling stories with stitches. I care about how hand-knitting is perceived and treated. I know exactly how much time and skill go into designing and writing a pattern - what does that say about my time and skill that Ravelry currently holds 122,147 free patterns? How could I possibly add value to a pattern (and price it at £3) when 122,147 patterns are free?

It's a weird job I have chosen and it is a strange industry too. All I can do is hope that you'll like my collaboration with Lilith (note: it involves an essay about cholera, false teeth and William Morris). I'll be back with a gift-buying guide for the knitters in your life. Treat them well: they are super-skilled and deserve a treat.

Then I Became Myself

When my friend Lilith wrote her blog post about taking a much-needed break, I knew how hard it had been to write that blog post. I have known Lilith for many years - she is a goofy and smart person with so much talent and a big heart - and I know there are parts of her life she doesn't mention much. I am so proud of her for writing with candour and honesty. It is surprisingly hard to follow in her footsteps and write about my own life with equal candour and honesty. I don't like writing about my personal life and I often feel that writing about my working life also transgresses some boundaries. As a result, blogging can be really hard. Some time ago I asked: what would happen if you had to be yourself? I think I am about to find out now.

Many bloggers like to present their lives in a great light. I get fed up with so-called lifestyle bloggers really quickly because life is messy and dirty. I am surprised to find that I had fallen into the same trap. My life is messy and dirty at the moment. October was spectacularly awful (and September hadn't been great either). I was pulled in all directions at once (family, friends and work) and I finally unravelled last week. I am used to working a lot, but I am also used to being able to juggle various commitments and managing my time myself.

Some six years ago I was diagnosed with a chronic illness. At the time it felt like the end of the world, but I clawed my way back and carved myself a new space. I run my own business now because it allows me some flexibility in how I work. When that flexibility is removed from me, life becomes just that bit harder for me. October swallowed me up completely - one tiny aspect of my working life blew up and flat-lined me. Feeling helpless is not one of my favourite emotions, I can tell you that, and I am not just physically exhausted but also emotionally. It's not pleasant.

I have had a couple of lovely queries:

"I am knitting this shawl pattern, but I'd love if you designed matching mitts!" I'd love nothing better than design, design, design. But I also teach, tech-edit, copy-edit, translate, and do consultancy work in the yarn business. I'm trying to fit in as much designing as I can but it can be difficult to find time. I plan my design work carefully ahead of time - the last two months (especially October) have seen all my plans fly out the window. If you are waiting for me to design a pair of mitts to match a shawl, you may have to wait .. no, it is not going to happen. Sorry. Design-wise, I'm now looking at 2015 options and I have specific ideas already.

"Won't you come teach in my hometown? I love teaching and I love travelling. I am fully booked until mid-April now and I do have to plan carefully for reasons I hope are apparent.

Now the query that's closest to my heart.

"When's the next Doggerland pattern? It's been ages!" Doggerland is all me - and that is both good and bad. It's good because it is so authentically me and what I do. It's bad because I am doing every single aspect of it myself - and that means if I am pulled in another direction, Doggerland just waits. And waits.

My original time line was this: the Vedbaek shawl was due out end of September, the next pattern out mid-October, and the last(!) pattern should have been out today. Vedbaek is still unreleased and I am so incredibly stressed out about it. It is sitting at roughly 85% - I still need to chart some things, do a photo shoot, and write an essay. The other two patterns are fully designed as well but need some love and attention. I would love nothing better than share them with you. Hang in there with me.

Right now? Life is messy and dirty. My partner & some close friends forced me to book proper time off (not just one day or a working holiday) at the end of this month. I am trying to make some changes to aspects of my work/life balance.

This is me: I am tired, sad, and a bit scared. I hope that isn't entirely off-putting. It's still all wrapped up in wool.

Painting with Stitches - Ann Kingstone's Stranded Knits

I don't often accept invitations to review books but when Ann asked me at Woolfest, I just couldn't say no. Ann Kingstone is a Yorkshire-based designer who has quietly turned into one of the UK's best-loved indie designers. I adored her Born & Bred book which looked at Yorkshire's place in the UK wool industry - the Wetwang jumper is a particular favourite of mine - so I knew I would want to take a look at Ann's new book.

Stranded Knits is all about colourwork. It is also all about demystifying colourwork: the book has an in-depth techniques section at the front with clear technical drawings. I particularly appreciate that Ann has included technical explanations for both Continental and English-style knitters. The techniques section won't substitute a really good colourwork workshop but it is a great tool for anyone sitting at home trying to figure out how to get their tension even and how to carry yarns. It also details how to steek and goes into colour theory - and it does so in Ann's customary friendly manner.

But let's look at some of the patterns.

William has caught a lot of people's attention. With motifs inspired by William Morris, the jumper is knitted top-down with very clear charts showing you how to 'trap' yarns across large swathes. It is one of the most immediate designs in the book and I've seen two William jumpers in the wild myself. The jumper is knitted in Rowan Tweed which is a lovely rustic, yet soft yarn.

Field Study is one of my favourites - it is knitted using just two colours of Rowan Felted Tweed (which means you have a big numbers of colour combinations to choose from!). It is absolutely stunning with its shift in contrast - you start out by using Duck Egg (the pale teal) as the background colour and Rage (the red) as the motif colour, but you swap halfway up the body. Visually this means you decide what you want to highlight - pear-shaped ladies can choose emphasise their shoulders; curvy ladies can choose to emphasise their waist etc. Choice of colour combination will determine a lot (I am still leaning towards a red/green combo but I'm predictable that way). It is a very clever design.

The construction is also terribly, terribly clever.

Carol Feller hosted a great discussion with Ann on how the shoulder shaping occurs. An absolute master-class in designing. The gist is this: you start by working the body bottom-up, then you knit the two sleeves bottom-up, and then knit a saddle-shoulder/continguous/short-row sleeve hybrid. It sounds complicated but like everything else in Stranded Knits, it is explained very well.

Finally, you can just hone your colourwork skills by making small things.

The book includes a lovely hat/gloves set (more on this in a second), an adorable slip-over for toddlers as well as a mug warmer and a tablet cover. Whenever I run colourwork workshops, I always tell my students to start out small - get used to stranding! It also means you can play around with colour a lot more. If you are planning on knitting the Hedgerow cardigan, why not start out by tackling the adore Mary Rose mug warmer?

As previously mentioned, all the patterns in this book use Rowan yarns.

I am a real champion of Rowan (disclosure: I have worked with them on many occasions) and it is so nice to see them endorse a strong UK indie designer like Ann. Rowan often gets a bad rep for not embracing Ravelry-style patterns - I think anyone saying that has not been taking a look at what Sarah Hatton has been doing , incidentally, nor paid attention to Rowan working with Kate Davies and Josh Bennett! - and here they are collaborating with Ann on a book that really pushes the boundaries from both a construction point-of-view and a pattern-writing point-of-view. It is a real joy to behold.

Oh yes, I did mention that hat/mittens set, didn't I? I just couldn't resist casting on the Pleiades mitts despite being snowed under with other work.

I am using Rowan Felted Tweed in Camel and Rage. I am actually really enjoying knitting this. The thumb shaping is terribly clever and the way the motifs line up are very, very clever too. I only have time to work on this project occasionally, but it is working up remarkably well. The chart is easy to work from and everything is laid out clearly. Such a pleasurable quick knit - the knitterly equivalent of nibbling a deliciously biscuit between meals.

And yes, that is Yorkshire brew in the cup.

Thank you, Ann, for giving me a copy of your book. You are a treasure and so is your Stranded Knits book.

Wool Week Travels

It is Wool Week here in the UK and as a result my working week is somewhat frantic. This year the emphasis seems to be wool as fashion and that ties neatly into some blog posts I have been working on. Wool School asked budding fashion designers to design woolly jumpers with the best designs being snapped up by retailers. It is a different approach to previous years' campaigns which were more focused on wool as product. I applaud the decision to shift focus - it cannot not have been an easy decision - and hopefully by asserting wool as fashion we can start to have that particular discussion. More on this when I get a chance to post my blog series.

The Knitter features my Doggerland collection this month and I was slightly stunned to find myself sharing a page with Steph Pearl-McPhee, Alana Dakos, Jean Moss, and Kaffe Fassett. No pressure, Karie. However, that does bring me to what's going on with Doggerland. The next pattern is a 4ply shawl called Vedbaek - I really love it and it's a real comfort knit. The trouble is that I have about six or seven strings to my bow and I am a bit overwhelmed with work. So, Vedbaek is sitting 75% finished on my harddesk and I am as frustrated as everybody else that I cannot just dig into it and get it published. Hang in there with me. Besides Vedbaek, there are two more Doggerland patterns to go. I cannot wait to show you.

(this does go back to one of my concerns pre-release that my portfolio was going to drag me away for lengths of time. I need a time-turmer)

But at least being busy and travelling gives me time to do some work knitting (see photo!). I finished knitting my Bute cardigan (or did I? Oooh, there's a story..) and I began knitting Orkney. It is going to be a long-term project because I'll only be able to work on it now and then - but it is so pretty. I am changing the colours completely: from the beige/purple/turquoise original to a darker, more muted version in brown/green/red. Ravelry is full of wonderfully reimagined Orkney cardigans: Doodle's Orkney, Grebe's Orkney, Pletynka's Orkney, and Whitecotton's Orkney. I am blessed to be able to spend a bit of my work time of knitting - I don't think I will have time to do so going forward, though.

And so it is time to depart. Enjoy Wool Week - I will probably enjoy it most when it is all over for another year! Shhhh...