Concluding our dot-themed prize tour, I wanted to write about the wonderful use of calming blues throughout one of my favourite dot-themed publications: Making #3: Dots.
I have particularly happy associations with this magazine because I initially spotted it (haha!) at Loop in London, when I was meeting my sister-in-stranded-colourwork Janine Bajus for the first time. We’d agreed to meet there so that Janine and her friend Chris could see this yarny palace of dreams. When I saw this magazine (drawn INSTANTLY in by the word DOTS on the front cover) I flicked through and thought “this is absolutely lovely, but I’ll never have time to make any of these projects”. I left it there on the shelf.
But I kept thinking about it.
About those dotty projects in all those gorgeous shades of blue… the recipe including blueberries (how had I never conceived of blueberries as dots before?); the pebbles clad in crochet (why yes! pebbles ARE like dots…); the tiny, round pincushions dotted with stitches (and later to be dotted with pins…); the dots made of Yarn-Overs (so many ways to make dots and spots beyond stranded colourwork…); and the moon-themed bag with its singular dot of undyed white… there were just so many different and imaginative creative explorations of my favourite thing: dots. The sheer scope of what might be considered to fall within this theme, and the thoughtfully curated projects just kept popping into my mind. I ordered a copy.
As predicted, I’ve been a bit busy with my own stuff to make anything from it yet… however, this has not prevented me from stockpiling supplies to make some of the projects one day, and flicking through its quiet pages with their many tones of blue fills me with rare feelings of calm. I am keen to share all this with a fellow appreciator of dots and decided this magazine should form the main part of the final prize for the POLKAMANIA! KAL.
To accompany Making #3: Dots, I have included some stickers which are also dots, and which are also blue and white…
…I put these stickers in my bullet-journal to remind me to breathe, to look at the sky, to drink water, to pause for a few moments.
I’ve also included a set of Knit By Numbers 4-ply Mini-Skeins in a range of blues that reminds me of those found throughout the pages of this lovely magazine.
YOURS IN SPOTS AND PUDDLES OF CALMING BLUE, MORE SOON – FX
My plan for these posts about DOT-THEMED-PRIZES was always to explore the vast scope for creativity and reinvention that might be found by playing with dots. Yesterday I spoke about the Japanese artist Yayoi Kusama who has really redefined what you can do with these seemingly simple shapes.
Today I’m following up with more thoughts on creative adventures in dotland. My quest for dot-themed prizes led me on all sorts of exciting online searches, one of which involved the discovery of the wonderful dot-themed stickers designed by Sophie of TigerFraeulein.
TigerFraeulein is a very small stationery business producing all sorts of amazing things for use in planners, sketchpads and bullet journals. However, I particularly love Sophie’s dot-themed stickers in which circles are used to encase a wide variety of themes.
Sophie makes watercolour dots, patterned dots, dots with nature scenes in them, dots with calm colours, dots with loud colours, and dots containing galaxies.
How could I not include some of these special sticky dots amongst the prizes for this KAL?
To complement these stickers and to add a knitterly dimension to them for a prize, I sought out yarns with a similar palette, eventually settling on these two contrasting skeins of Gytha Worsted Weight Yarn dyed by Lola Johnson of Third Vault Yarns.
The yarn-base Lola uses for Gytha is superwash-treated worsted-weight Falklands merino, spun by John Arbon… so a not too distant cousin of the John Arbon Knit By Numbers Yarn with which I designed POLKAMANIA! This is what Lola says about this yarn:
Gytha Worsted is named after a Nanny Ogg, from the Discworld Series. She is a loveable and much liked character, to all but her many daughters in law (which is said by many to be her only failing). This warm, welcoming, fully-figured mother and witch embodies this yarn. Its ridiculous softness and ability to take colour, along with its good wearing qualities, make it the perfect yarn for something next-to-the-skin-soft or to wrap you up in warmth as a jumper; it’s almost magical ;D. This superwash Falklands merino yarn is specially spun for Third Vault Yarns, it’s hand-sourced in the Falklands, treated and spun in the UK.
I love this description, and how Lola celebrates Nanny Ogg (secretly my favourite Discworld character) so appositely in yarn. To my mind, these two plump, contrasting skeins in the moody blue-purples of Locs and the soft grellow tones of Charcoal Ash go perfectly with Sophie’s spotty stickers.
There’s also something really pleasing about combining galaxies and stars in stickers with the magical, mythical worlds that inspire Lola’s colourways and the book/yarn clubs that she runs through Third Vault Yarns: there really can be universes in our knitting. And who can argue with the lovely connections between the smudgy watercolour dot stickers, and the painterly quality of hand-dyed yarn?
Along with creating her delicious colourways or rather, as part of that creative practice, Lola runs book clubs in which richly-dyed yarns are released along with details of the science fiction that inspired them. This framework offers knitters a really rich knitting and reading experience, and in 2019, Lola has been using this format to centre and celebrate female and non-binary led science fiction and fantasy. Each month involves a custom-dyed yarn which celebrates a particular book or author. I really like how books and stitches can be combined in our laps and imaginations when we sit down to knit. It’s not science fiction, but reading Yayoi Kusama’s autobiography while knitting on my POLKAMANIA! cowl infinitely enriched the experience of its making, and changed how I think about its dots.
I called this second prize REACH FOR THE STARS because I wanted to share, with another KAL buddy, that sense of a universe within a book, a ball of yarn, a knitting project. I hope this yarn from Third Vault Yarns and these stickers from TigerFraeulein will give someone further adventures in knitting which – of course, because of the contrasting shades I’ve chosen – may yet include more dots.
I didn’t mean for so much time to pass between my last post and this one. I’m continuing my dot-themed blogging today and hoping to finish this series of prize-related posts ahead of leaving for EYF later this week. Prize-winners for the POLKAMANIA! KAL will be announced tomorrow, and I’ve loved seeing all your finished projects over on Ravelry.
I’m on the final section of my second cowl and it’s been a long and thoughtful knit.
Today I’m going to talk about the second part of the IN DOT SPACE prize, which is a children’s book titled Yayoi Kusama, From Here to Infinity. It was produced by MoMA to celebrate the art and life of the amazing Japanese superstar artist, Yayoi Kusama.
I chose this prize because Elle Weinstein’s illustrations perfectly capture the links between the textures of the world and the distinctive dots that underpin Yayoi Kusama’s iconic art practice.
The book does a great job of transmitting Yayoi Kusama’s sense of the infinite within the everyday. Its illustrations clearly show dots in the raindrops on a plane window, dots in the cars when viewed from the top of a skyscraper, dots in the pebbles on the bottom of a riverbed, and dots as the foundation of Yayoi Kusama’s phenomenally exciting artistic vision.
I hope it will inspire further adventures in dot-knitting, colourwork, and ways of seeing the world.
Perhaps understandably for a book that is aimed at making a complex artist accessible to young children, Yayoi Kusama’s lifelong struggles with mental health and the radical, sexual content of her 1960s Happenings are not explored in Yayoi Kusama, From Here to Infinity. However, I thought I’d say a bit about these missing elements to add some background for a more adult audience, and because frankly after immersing myself in the amazingness that is Yayoi Kusama’s back-catalogue of work, I have far too much to say about her powerful use of DOTS to end my blog-post here.
While I’ve been knitting away on my cowl, I have been exploring the rich world of Yayoi Kusama’s art practice. I really enjoyed watching the documentary made about her life and work – Kusama: Infinity – and her autobiography, Infinity Net. I can’t say everything about Yayoi Kusama – she’s best understood in her own words, in her own work, and on her own terms – but here are some some of the things I’ve taken away from researching her amazing art practice.
DOT SPACE IS INFINITE, DOT SPACE IS OBLITERATION…
Yayoi describes her first solo exhibition in New York in 1959 in this book, and the following is excerpted from the brilliantly titled chapter Taking My Stand with a Single Polka Dot:
My desire was to predict and measure the infinity of the unbounded universe, from my own position in it, with dots – an accumulation of particles forming the negative spaces in the net. How deep was the mystery? Did infinite infinities exist beyond our universe? In exploring these questions I wanted to examine the single dot that was my own life. One polka dot: a single particle among billions. I issued a manifesto stating the everything – myself, other, the entire universe – would be obliterated by white nets of nothingness connecting astronomical accumulations of dots. White nets enveloping the black dots of silent death against pitch-dark background of nothingness. By the time the canvas reached 22ft it had transcended its nature as canvas to fill the entire room. This was my ‘epic’, summing up all that I was. And the spell of the dots and the mesh enfolded me in a magical curtain of mysterious, invisible power.
In Yayoi Kusama’s amazing and foundational Infinity Net paintings, the negative space encircling each dot has been painstakingly rendered. The movement that produces each mark is organic and soft and the final painting is slowly generated through a process of accrual. The early works are thickly textured records of restless, repetitive action. To my knitter’s eyes, Yayoi Kusama’s Infinity Nets feel like the painterly equivalent of garter-stitch. Each loop is formed through a discrete gesture which contributes to the whole – to the “enfolding curtain of mysterious, invisible power”; as with knitting, the finished work is constructed loop by loop.
There is no centre to these paintings; no background or foreground… instead, Yayoi Kusama’s dots seem to map an interior place. These early paintings relate to Yayoi Kusama’s later light and mirror installations in which we can also see places that feel less like tangible geography, and more like internal states.
In her 1960s New York Happenings, Yayoi Kusama continued to use dots in events where body-painting nude dancers or attaching dots to herself and her surrounding environs became the means to obliterate individual egos and identities; a way to blur figures into the background:
…by covering my entire body with polka dots, and then covering the background with polka dots as well, I find self-obliteration. Or I stick polka dots all over a horse standing before a polka-dot background, and the form of the horse disappears, assimilated into the dots. The mass that is ‘horse’ is absorbed into something timeless. And when that happens, I too am obliterated.
Dots as records of human actions, and as a way to obliterate space, appear in my favourite Yayoi Kusama piece: Obliteration Room. A pristine white space is slowly transformed through visitors applying little dot stickers which, like Yayoi’s round brushstrokes in her Infinity Net paintings, slowly collapse all the planes and perspectives of space into a mesmerising and overwhelming continuity of dots.
…DOT SPACE IS TRANSFORMATIVE…
In her autobiography, Yayoi Kusama describes the events and experiences events which contributed to her lifelong aversion to sex and to her troubled mental health. In her work, she continually confronts and recycles these sources of trauma, transforming them into a distinctive means of expression. She speaks about disturbing visual and aural hallucinations and the difficulties of her childhood. But she is also articulate about how her creative practice has allowed her to reclaim herself from these experiences, and to rewrite them in her own way:
Artists do not usually express their own psychological complexes directly, but I do use my complexes and fears as subjects. I am terrified by just the thought of something long and ugly like a phallus entering me, and that is why I make so many of them. The thought of continually eating something like macaroni, spat out by machinery, fills me with fear and revulsion, so I make macaroni sculptures. I make them and make them and then keep on making them, until I bury myself in the process. I call this ‘obliteration’.
A soft-sculpture work Yayoi created in 1965 for the Castellane Gallery – Infinity Mirror Room – Phalli’s Field – perfectly embodies the transformative qualities of her creative processes:
The walls of the room were mirrors, and sprouting from the floor were thousands of white canvas phallic forms covered with red polka dots. The mirrors reflected them infinitely, summoning up a sublime, miraculous field of phalluses. People could walk barefoot through the phallus meadow, becoming one with the work and experiencing their own figures and movement as part of the sculpture. Wandering into this infinite wonderland, where a grandiose aggregation of human sexual symbols had been transformed into a humorous, polka-dotted field, viewers found themselves spellbound by the imagination as it exorcised sexual sickness in the naked light of day.
There’s so much more I could write about Yayoi Kusama – about how difficult it was for her when she first came to New York as a young, Japanese woman; how sexism, racism and the conservatism of her parents made her early years as an artist incredibly difficult; how she used nudity, dots, and the vastness of her vision to protest Capitalism and the Vietnam War; and how she has become a paragon of self-care and self-discipline in her eighties, continuing to work in her studio, and being cared for in the psychiatric hospital in Tokyo into which she admitted herself almost forty years ago.
There’s just so much there to explore; so much to appreciate and to try and understand; and so much more to dots than I could ever have imagined before taking this deep dive into the amazing, radical, anti-ableist, feminist, anti-war and infinite world of the artwork of Yayoi Kusama. But if I get into it in yet more depth today, this blog post will never be finished.
DOT SPACE IS AMAZING!
I really hope that the IN DOT SPACE prize featuring African wax print bags by Shop Joli plus the children’s book Yayoi Kusama, From Here to Infinity, will offer new dimensions for appreciating your hand-knitted dots and contemplating how much can be said with this seemingly simply motif.
As promised yesterday, I’m back to talk to you about being IN DOT SPACE and the glorious visual effects that can be produced by endlessly repeating dots in different colours and sizes.
One of the prizes in this category comes from ShopJoli â€“ an independent fashion business run by Taneshe Oliver, who produces African-Inspired handmade bags & accessories for her online shop. One of the sets she has created features a distinctive dotty motif to which Taneshe was drawn because â€œthe placement of the dots create a three-dimensional illusionâ€.
Taneshe kindly agreed to say a bit more about her work for this blog post and prize giveaway:
Every bag / headwrap is sewn by myself. For me as a designer, it is overall the aesthetics combined with the meaning that attracts me to different prints. Wax has become an integral part of African heritage; at ShopJoli we source our wax prints from both Ghana and the United Kingdom. The vibrant colours and prints of African wax are loaded with meaning. White, for instance, is a sign of peace; blue of power; green of life/ renewal and orange a sign of joy. These colours are all present in the NICHE Collection featuring a Clutch, Large Makeup Bag and matching Headwrap. The wax is not only a piece of fabric or an item of clothing but also a means of cultural expression used to unite customs, beliefs and traditions.
– Taneshe Oliver, ShopJoli
Thanks to Taneshe for helping us dig more deeply into what lies behind the colourful creations at ShopJoli and for showing us how to see past the dots to the stories and context beyond. IN DOT SPACE, the print used in the NICHE Collection is both a proud and celebratory signifier of West African textile heritage, and a window into the complex history of African Wax Print fabric.
In her eponymous book, Anne Grosfilley explores what lies behind this â€œmost emblematic of African fabricsâ€. Originally introduced to West Africa by Europeans as a profitable export, its distinctive aesthetics were born in a very particular set of circumstances. The Industrial Revolution and the invention of new fabric-printing processes in the UK and in Holland; a trade war between the British and the Dutch; the avarice and opportunism of Imperialism and the distinctive and highly coveted batik prints made by Javanese artisans are all part of its past â€“ part of our past:
â€œAfrican print is more than a fashion style. The name refers to fabrics that are invested with emotion and meaning, that evolved with the times, and which cannot be reduced to simple â€œAfrican printsâ€, or be described as by-product or one of little value: they bear the mark of a collective history, and are all common â€œthreadsâ€ which help us comprehend the global society that we are building together. A combination of diverse influences, these fabrics absorb and recount the changes that have taken place during the 20th century and express hopes for the 21st century. They are dedicated not only to the African legacy to the point of being landmarks of identity, they are also a part of our common human heritageâ€.
– Anne Grosfilley, African Wax Print Textiles
In my own work I am interested in how the technology of hand-knitting and the material of wool might be used to produce repeat-patterns in stranded colourwork, based on the world around me.
Like African Wax Print, the history of wool and hand-knitting is complicated and one which also includes The Industrial Revolution; trade wars; Imperialism and avarice. (If you’re not sure what I’m on about, this excellent instagranm post from Jessie is a good place to start.) Too, from this messy past, we have found and are finding new ways to embed uplift, meaning, kindness and significance in what we create for ourselves and one another. I donâ€™t think it hurts our creativity to lean into those histories and to think more carefully about what we celebrate and uplift when we make things… even when we are just making dots, we are connecting to long and histories of creativity and textiles. Iâ€™ll close today with what Taneshe said about the significance and meaning of what she makes because I think her words will resonate with many of you:
I hope that my customers will appreciate that at ShopJoli our bags are pretty yet practical. A seemingly meaningless bag can be so beautiful and the colours represent the deep-rooted African culture of Ankara / wax fabric.
– Taneshe Oliver
Thank you Taneshe for kindly agreeing to this interview and for your gorgeous, colourful bags which give us yet another way to think about dots. You can find ShopJoli here and revisit KNITSONIK in coming days for further ruminations on dots and patterns.
Until then, YOURS IN DOT SPACE, Fx
This post is the first of several; I promised there would be prizes with a dotty theme for comrades who made a POLKAMANIA! My plan was always to choose things that would be joyful and knitterly, but which would â€“ like the KAL itself – provide opportunities to consider and celebrate dots and the myriad ways in which these simple, repeating, circular shapes can be used to different artistic ends. Over coming days, Iâ€™m putting together a series of posts about the KAL prizes, each of which celebrate dots and the different ways in which people create with them. I hope youâ€™ll enjoy learning about some other independent businesses who are making things with dots, and that – even if you didnâ€™t enter the KAL – youâ€™ll find something inspiring in the posts in this series.
As youâ€™ll know if youâ€™ve been following for a while, there has been a POLKAMANIA! KAL going on in the KNITSONIK Ravelry group over these past couple of months; for those of you who have been participating, today is the last day to complete your cowl… don’t worry if you haven’t finished, I haven’t either.
…there are a lot of different things to see and this isnâ€™t even all the projects, though I’m hoping to share the rest with you in the course of the next while.
Itâ€™s surprising how rich the simple context of dots turns out to be, as a vessel for playing with colours. I hope you are inspired by this glimpse into the making that has gone on for this KAL. If you are on Ravelry, you can see the project gallery here.
I promised there would be prizes with a dotty theme for comrades who made a POLKAMANIA! My plan was always to choose things that would be joyful and knitterly, but which would â€“ like the KAL itself – provide opportunities to consider and celebrate dots and the myriad ways in which these simple, repeating, circular shapes can be used to different artistic ends.
Now that weâ€™re at the end of the KAL, Iâ€™m putting together a series of posts about the prizes, each of which celebrate dots and the different ways in which people create with them. I hope youâ€™ll enjoy learning about some other independent businesses who are making things with dots, and that – even if you didnâ€™t enter the KAL – youâ€™ll find something inspiring here in the next week or so.
For now I just want to say a huge massive WELL DONE to all the KAL-ers – I’ve really enjoying knitting with you. To everyone else, go and shower the dotty projects in Ravelry hearts! Thanks again to everyone who joined this KAL and knit dots with me this winter.
Thank you all so much for your wonderful, thoughtful comments on my last post; I really loved reading your comments and hearing your thoughts on what you like about Knit-A-Longs…
…Themes of friendship, community and shared endeavour cropped up several times, as did the motivational aspects of a deadline…
Many of you seem to enjoy knowing there are folk right there to ask, should help be required… and almost all of you share my feeling that seeing what other people are making is always really inspiring.
From being good for mental health, to overcoming a sense of isolation, the joy of the KAL really is just all about doing something together and helping each other out. I’m really excited about our POLKAMANIA! cowl and glad to be preparing to knit dots together through the festive season. I struggle with the darker months of the year and a colourful, playful, yet not-too-tasking project is perfect to bring on journeys to visit relatives or for working on while watching holiday TV. I know this can be a stressful and busy part of the year, but I find that a soothing, portable project is just the thing to have on hand at such times. We can check into the Ravelry group KAL thread whenever suits and turn it into a joyful little corner of encouragement, colour-play, and dots.
KAL Rules Cast on date: Monday 17th December, 2018 Completion deadline: Thursday 28th February, 2019 3 PRIZES (details to be announced): Monday 11th March, 2019 THE PRIZES WILL BE DOTTY
KAL Stats Days of knitting time: 74 Segments in cowl: 24 Number of dots to knit in each cowl: 2592 (unless my maths is badly wrong!)
Between now and the cast-on date, there are a few fun things to do including making your project page on Ravelry; choosing your colours; and – very importantly! – knitting your gauge swatch. Feel free to use the KAL image above for your Ravelry project page, for your social media, or anywhere else where it will cheer you to remember that we are knitting dots together this winter.
Choosing colours You can either plan out the whole cowl using the tutorial given in the pattern or go for an improvisational segment-by-segment approach, making up your colour combinations as you go; I’ve tried to design the pattern to allow for a completely freestyle approach, recreating the sample exactly, or something in the middle; do whatever feels good. There are 24 sections to the cowl which offer many opportunities to try out different colour combinations on the fly, if that’s your kind of thing, but if you prefer planning colours ahead, I have some suggestions: if you have a copy of the KNITSONIK Playbook Colouring Companion, you’ll see that the same motif as appears in the cowl is also there on pages 16 and 19 as part of the Polka Dots & Dolls pattern; you could colour this in to get your ideas going. If you don’t want to work directly into the colouring book for this project, you can redeem the digital download code on the inside cover of the book and get a PDF copy, from which to print out the relevant pages.
It’s also fairly easy to plot the polka-dot motif from the chart in the pattern onto squared or gridded notepaper, so that would be another way to plan your cowl before casting on if that’s what you would like to do. Equally, finding all the random balls of fingering weight yarn you have and putting them into a basket with the idea to pick combinations at random is also completely fine.
Knitting a gauge swatch I am an extremely loose colourwork knitter and I hold my yarns in a very relaxed way in order to avoid exacerbating the arthritis in my fingers and wrists. I produce an open, soft fabric when knitting fingering weight yarn on 2.75mm needles, and many knitters I know require a needle size several sizes larger than mine in order to attain the same gauge. Additionally, if you are knitting POLKAMANIA! using 4-ply mini-skeins from John Arbon, I had just a metre or two of most of my mini-skeins left over after finishing my cowl and I actually ran out of one shade 2 rounds before the end of a segment (I sneaked in a couple of rounds of the next colour in the sequence and it’s impossible to see unless you’re really looking hard). All of which is to say that if you don’t get close to the gauge specified in the pattern – and especially if you end up making a much looser fabric that uses slightly more yarn per stitch – you may run out of yarn at a more critical point. My friend Kate has written a magnificent post about the importance of swatching to get gauge, and I heartily recommend that you read it and, also, that you either knit a swatch for your POLKAMANIA! cowl or relax into the idea that you may require different quantities of yarn to those specified in the pattern, and that – if you don’t feel like swatching – you may end up with a differently-sized cowl at the end of the process.
Finally, I’m thrilled to reveal who won the giveaway! I wrote out the names of everyone who commented on my last post on pieces of paper, folded each one twice, then asked my enthusiastic comrade, Mark*, to pick one out at random.
He chose Mary Jo, who says “This sounds like a lot of fun! My wonderful local yarn shop closed and I miss the group that used to meet there, though some of us continue to get together. There were often group projects going on at the shop and a KAL sort of reproduces that feeling of knitting together with a group and helping each other with problems that come up.”
Congratulations, Mary Jo! I’ll email you directly for your postal address and post out your goodies tomorrow. Thank you – and thanks to everyone else, too – for affirming how much fun it can be to Knit-A-Long together. See you in the Ravelry group?
YOURS IN KNITTING ALL THE DOTS, XF
*who specifically instructed me to use the silliest photo of him picking out a winner for this post.
I thought it might be fun to host a POLKAMANIA! KAL for folks who have downloaded the pattern and are planning to knit it. It can be a simple thing – I can produce prizes for different categories and we can encourage each other and share our progress in the KNITSONIK Ravelry group.
If you want to join in, here’s how it will work:
1. buy a print or digital copy of the POLKAMANIA! cowl pattern 2. join the KNITSONIK Ravelry group and find the POLKAMANIA! KAL thread for sharing polka dot fun, inspiration and encouragement 3. knit a POLKAMANIA! cowl, completing by 28th February, 2019 4. PRIZES!
I haven’t worked out the details for the prizes yet, but they will be knit-related and joyful; they will include dots of some sort; and there will be three of them.
To launch this KAL, I’m running a giveaway. The giveaway winner will receive a copy of the superb Knitter’s Graph Paper exercise book made by Narangkar Glover of Rowan Morrison Books (which I am now stocking in the KNITSONIK shop); a selection of dotty stickers with which to mark cowl progress in this or another preferred notebook; and a printed copy of the POLKAMANIA! cowl pattern.
To enter, leave a comment on this post before Monday 10th December, sharing what it is that you like most of all about joining in with a KAL. I’m really interested to know and really want your input so that we can have the best time knitting dots together over the festive season and on into the New Year.
Thank you so much for your support and kind words about Polkamania! following last week’s launch; I’ve been so lifted by the collective joy for polkadots and am really excited to see what you make with my pattern. Today I want to tell you about another new design: Featherheid.
This pattern is one of fifteen included in the exciting forthcoming Kate Davies Designs publication, Milarrochy Heids. This fantastic collection of hats features heids by thirteen designers, all worked in Kate’s glorious Milarrochy Tweed. There are some amazing heids in the collection and it’s really exciting to see all the different creative approaches to designing with this yarn. Looking through the whole collection not only gives one a serious case of startitis (who else wants to knit ALL THE HEIDS???) but also reveals the fabulous creative potentials of Milarrochy Tweed.
I am particularly fond of the elegant striping sequence in Nur Gutes’ Let’s Stripe. How pleasing is it to see the yarn palette in this way, with the shades all interacting like this, as little strips and bands of slubby tweedy joy?
I think it’s just lovely and shows all the colours off to great effect.
I also love the glorious Breiwick beret by Ella Gordon which appears on the cover of Milarrochy Heids.
It combines Ella’s knowledge of vintage Fair Isle knitwear with her fresh, contemporary style, and it also expresses a strong sense of place which you can read about (in this inspiring blog post). Ella’s photos of Breiwick Road are full of the same soft sunsets and blue, watery colours as her beret design. Reading her post I kept thinking of the Shetland word lichtsome which means cheerful and can be used to describe people and places.
There are so many other lovely ideas in the whole gallery of HEIDS and I feel really honoured to be included.
Now Featherheid has been revealed on Ravelry and on Kate’s instagram, I thought I’d share a bit of the design process behind my hat which celebrates the ducks Mark and I kept for several years: Honey, Bonbon and Pretzel. These much-missed comrades can be seen here lurking underneath our outside table on some straw the winter before last.
They were a quacking posse of suspicious birds who managed to produce staggering amounts of mud and poo considering their modest size. They never liked us; hid their eggs in weird places; ran away when we tried to befriend them and then ran towards us in a cowardly way whenever our backs were turned. Their presence in our garden decimated the slug and snail population completely (nice) but attracted rats (not nice). Their wonderful sound ranging from companionable little grunts and low-level quacks through to collective, bellowing outrage was my favourite thing and, in spite of the mud, the smell, the wet, and the resentment they seemed to harbour for human beings in general, we loved them very much. They died, one by one, of mysterious, egg-related complications. Their ailments proved impossible to treat even with expensive vet visits and valiant antibiotic-administering regimes (at which Mark was much better than me, it must be said). With my health being what it was this year it did not feel wise to stock up on more labour-intensive livestock. We still dream of figuring out a filtration/pond system and once again having a garden full of ducks, but for now I’m glad for the experience and the memories of keeping our spirited gang of duckpals. Whenever I think about them, I recall the gleam in their beady eyes whenever they saw me with a fresh paddling pool full of sparkling clean water. At such times they would determinedly thrust their faces into the mud, fill their bills with muck, then run towards the water and despoil it. This was their favourite game. I also think about their feathers, which ranged from being very tiny and delicate around their necks, to being thick and bold and shapely at the end of their glorious wings. I wondered if I could chart a series of shapes to suggest this progression in stranded colourwork motifs; this was the starting point for my design.
I found it a delightful challenge to work with the palette of Milarrochy Tweed, and to explore how the nubby, flecked shades interact when knit together. As with all KNITSONIK design processes, I began by casting on a large swatch to help me find my way with this new yarn.
You can see my palette and my ideas for feathery shapes evolving side by side through the swatch. Reading the swatch from left to right, you can see I began with greys and greens on my way to finding the palette and shapes you see in the final design. I tried using Stockiemuir to begin with – the vibrant light green in the Milarrochy Tweed palette, but it was too green and cold for describing Khaki Campbell plumage, so I abandoned that and rigidly stuck with brown and cream shades for the next part of the swatch. As I knit on, I began to feel that the muted tones of Hare, Bruce and Horseback Brown shaded over a background of Hirst did not quite capture the same rich warmth that ran through the feathers of our ducks.
Since the Milarrochy Tweed palette doesn’t feature the precise shade of brown I was after, I decided to introduce those warm tones in another way: by adding Buckthorn to my shading sequence. I also decided to vary the background between Birkin (a sort of pale, silver grey) and Hirst (a warmer, creamier colour). The Buckthorn warms up the browns that are around it, while the contrast of Birkin brings out the creaminess in Hirst and prevents the browns from appearing flat.
I wanted to write about this here because, when working from an inspiration source we’ve found in the world, there very often *isn’t* an exact match in the available yarns. Rather than being a frustrating problem, this can be a wonderful opportunity to revisit your inspiration source and to think about other inventive ways in which to speak to its colours with what you have to hand. I’m really pleased with how Featherheid pays homage to my ducks without being too literal an interpretation. I love how Buckthorn brightens the whole palette and is bold in a way that suits the personalities of Honey, Bonbon and Pretzel.
I got Mark to take a couple of photos of me with my phone once my HEID was finished before posting the sample off to Kate Davies Designs and it was fun to wear it in the same garden where the ducks once quacked, made mud pies, and snacked on slugs.
However, I really like seeing how the design looks in Tom’s official photos for the book and it’s great to see it styled with that vibrant, rust red jacket. I think Featherheid really suits Jane!
This project has been a delight to work on from start to finish, and I’m so excited to see the book. If you’d like to knit Featherheid or any of the other luscious designs featured in this wonderful forthcoming tome, you can pre-order a copy here for Â£18.00.
Thanks so much to Honey, Bonbon and Pretzel for many mucky adventures, and to my friend Kate for inviting me to be part of this fantastic project, YOURS IN HEIDS, XF
Polkamania! is back from the tech-editing desk of my friend Rachel Atkinson and will be going on sale tomorrow in my Ravelry store.
I’ve had a really productive time learning how to lay out this pattern in InDesign and the pdf includes full colour and black and white charts, plus a tutorial section in which I talk about how I sequenced my yarn shades when planning my cowl. This extra information is supplied to empower and inspire you to produce a Polkamania! cowl in your preferred colours.
As mentioned in this post, Polkamania! was inspired by, and speaks to the strengths of, the Knit By Numbers yarn range produced by John Arbon. This yarn range is really so clever; it’s produced by blending precise amounts of white wool with dyed wool to produce gradients through a wondrous array of different shades. The creative possibilities offered by this range are endless; Polkamania! offers a framework for diving in and playing with them.
The simplest way for you to design and knit your own Polkamania! cowl, is for you to pick two colours that you really like in the range, and then to buy six miniskeins of each, from the deepest to the lightest shade. I had almost nothing left over from my twelve mini-skeins, so the pattern uses up all the yarn AND lets you explore the entire range across two colours. In celebration of my pattern launch, John Arbon Textiles have generously offered a 10% discount code for use with purchases of 4-ply mini skeins in case you too wish to work with sets of this yarn. The offer is only available to KNITSONIK newsletter subscribers, who will receive the download code in tomorrow’s newsletter.
I really enjoyed knitting with this yarn and discovering how orange and grey brown interact depending on how light/dark they are, and which yarn is used for knitting the background, and which yarn is used for knitting the pattern. The resulting cowl is incredibly cosy and soft around my neck, but it’s also rich with information in case I ever want to work with orange and grey brown again – a wearable sampler, if you will.
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KNIT + SONIK!
As keen-eyed spotters will have noticed, Polkamania! speaks both to knit (stranded colourwork) and sonik (polka dots are thought to be so-named because they featured in the jolly ensembles worn to Polkas when that form of dance was first popularised). John Arbon has a fantastic record collection and, like myself, is interested in both KNIT + SONIK… so, to celebrate the forthcoming pattern launch, I asked him if he had a preferred polka to share with you. Juliet sent me a picture of a wonderful record sleeve yesterday, along with the following note:
“John has found his most favourite Polka influenced record in his collection. It is a 7â€ single and it is Bulgarian. The first track is very polka-esque â€“ it is an eastern European accordion tune. He got it in a charity shop and bought it because he loves the sleeve. He had no idea what it sounded like when he bought it, but he thinks it is fab.”
I had a check and Ð½Ð°Ñ€Ð¾Ð´Ð½Ð° Ð¼ÑƒÐ·Ð¸ÐºÐ° seems to translate directly as “folk music” in Bulgarian. The record company – Balkanton – who produced John’s Polka-influenced record was state-owned and founded in 1952. During this time, Bulgaria was one of the countries in the Eastern Bloc, which also included many of the countries associated with the birth of the Polka dance. Examples of Polkas can be found throughout Eastern Europe and seem to span everything from classical to folk music dances; if you have a favourite polka I’d love to hear it – leave a link in the comments.
In the meantime, in case you wish to listen to polkas while you are knitting your Polkamania!, I have included some links below for your KNIT and SONIK pleasure. Yours in Polkamania! FX
Julia Farwell Clay has written a blog post called Listening for the Voices You Can’t Hear. In it, she speaks about diversity, inclusion and race and representation in the world of knitting. She reflects on what we privileged white ladies of knitting can do about the fact that our industry, at its top levels, is still predominately white and why that is a problem:
Iâ€™m a middle aged white lady comfortably represented in the knitting world around me so itâ€™s my privilege and responsibility to listen and amplify that call for Diversity. I have welcomed the choices some knitting magazines have made towards casting non-white models… Meanwhile, Dyers and Designers and Teachers and Shop Owners and just regular knitters of color still havenâ€™t achieved a complimentary visibility equal to the percentages they occupy in our industry.
I created the character Lorna HB who is a knitting, rapping MC. Iâ€™m keen to break down the stereotypes associated with who knits.
– Lorna Hamilton-Brown
This conversation about who knits and who doesn’t knit also informed Lorna Hamilton-Brown’s dissertation title, Myth âˆ’ Black People Don’t Knit: the importance of art and oral histories for documenting the experiences of black knitters. The title for the dissertation comes from Lorna’s lived experience of being told by a white academic at a knitting conference “black people don’t knit – they crochet”. Being erased from history is all too common an experience for black people – and especially for black women. Lorna Hamilton-Brown’s amazing dissertation goes some way towards putting the stories that have not been told back into the frame. It’s enormously important:
The question â€˜do black women knit?â€™ is possibly asked due to the lack of visibility of black knitters. I am not alone in wanting to debunk this myth. On the 16 October 2016 user â€˜gillyffishâ€™ posted a message on the social media site Tumblr. It encouraged black knitters and spinners to use the hashtag #KnittingWhileBlack to raise visibility and awareness. â€˜Knitting is an art that is visually dominated by white parties, let us show the world we are out there.’
– Lorna Hamilton-Brown
The call for representation continues in other hashtags. If you’re not an instagram user you might not have seen the current conversation that’s evolving around the #diversknitty hashtag. Started by Nathan Taylor AKA The Sockmatician, the hashtag has been enthusiastically taken up (mostly) by knitters of colour as a means to achieve greater representation and visibility on social media. Julia reflects that this year Rhinebeck felt more inclusive and diverse and that maybe hashtags which have helped knitters of colour to find and see one another have contributed to this. One of the privileges of being white is that we never have to think about whether there will be people like us present when we attend events and social media may have played a role in making Rhinebeck feel safer and more inclusive for knitters of colour… but maybe, rather than being instigators of long overdue change, hashtags like #diversknitty and #blackpeopledoknit are symptomatic of it. Magazines are doing more in terms of hiring models of colour and PomPom magazine’s magnificent cover for issue 26 was well received everywhere, testifying to the fact that there is a collective thirst for diverse images in the knitting community.
Visible, high profile, positive change like this is fantastic, but there is still a great deal of work to do. Change needs to happen at *all* levels of the knitting industry and diverse customers feeling welcome (rather than unwelcome) is not enough. We need to see more vendors, designers, teachers, publishers and podcasters of colour across the board and we need to change our own thoughts and behaviour if the knitting industry is to become a truly inclusive place. To this end, Jeanette Sloan has been crowdsourcing an incredible list of POC designers and crafters which must be circulated in discussions around event planning, vendor booths, conference organisation and anywhere else where professional opportunities exist.
However we can do more on an individual level, too. To try and redress the unbalanced dominance of whiteness in our industry, we can prioritise buying yarn and patterns from businesses owned by people of colour; we can give our support to events and magazines that are actively promoting diversity; we can champion, amplify and celebrate the work of people of colour on social media; when we are researching folks to interview for our blogs and podcasts we can ensure we are being inclusive in our searches and not just referring back to our existing and primarily white networks. We can support initiatives like The Yarn Mission and we can follow the #diversknitty hashtag without inserting ourselves into the conversation. We can educate ourselves about the incredible work being made and done by people of colour and we can support and amplify that work. We must do these things in a meaningful and sustained way – not tokenistically – towards making our industry genuinely inclusive. To me, the work ahead looks alot like building relationships, extending networks, sharing skills and resources and consciously supporting people of colour in our industry the way that we already support each another. We can – and must – hold one another to account.
Like Julia says, we can listen for the voices that are missing and use whatever leverage we have to try and change the status quo. In the SONIK half of what I do, listening is the most important activity. Something changes when you change what – who – you listen to, and powerful shifts in mindset can happen when we are being quiet and paying attention. There is a wealth of writing about diversity in knitting available right now and written by people of colour: we need to listen to this and we need to really hear it.
Gaye Glasspie, AKA GG Made it has written a fantastic piece here reflecting on Diversity in crafting, and this video by her comes highly recommended for LYS owners.
The Yarn Mission is a revolutionary, black-led organisation based in the USA; their support page is very helpful for anyone who wants to not only be inclusive but to actively fight racism through knitting.
There are some important reflections on racism, representation, feminism and knitting in this video produced by PomPom Knits.
This Ravelry group set up by Sahara Briscoe is “is a global platform to showcase the knitted and crocheted patterns of underrepresented designers of African Descent throughout the Diaspora, and to foster productive dialogues between crafters and designers.” Check it out.
Reni Eddo-Lodge’s fantastic book Why I’m No Longer Talking To White People About Race is not about knitting, but it gives vital context to conversations about inclusion and diversity.