Muffintop

fwf-logo-columnsizeFor an introduction to what goes on in this column, click here.

A few weeks ago, I came home to find a box from Makers’ Mercantile on the doorstep.

That’s one of the perks of this gig. I don’t have to go out and hunt for wild yarn with my net and spear. Yarn comes to me.

Usually it’s yarn I’ve asked for. But not this time. Not in this box.

No, in this box…

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was a Makers’ Mercantile sheep bowl

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…stuffed with…

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HiKoo Simplicity (DK weight, 55% Merino Wool, 28% Acrylic, 17% Nylon) in red (054 Vavava Voom), white (001 White), and blue (051 Raffi), along with…

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…one LOVaFUR Vegan Pompom, also in red, white, and blue.

At the bottom was a note suggesting that I take the contents (the yarn and pompom, that is–not the sheep bowl) and make them into something. A challenge. A dare!

I’m as patriotic as the next knitter, but those colors were a curveball. Red, white, and blue is a charged combination for lots of folks–not only Americans–and it’s not often associated with chilly weather. To me, it shouts fireworks, barbecues, and swimming pools.

I briefly considered crocheting a 1970s Yankee Doodle bikini,

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but

a) HiKoo Simplicity streeeeeeeeeeetches when soaking wet, and
b) I couldn’t think of any place to stick the pompom that wouldn’t be either ridiculous or indecent.

With three skeins of wool blend and a pompom, clearly I ought to make a hat. Alrighty, then.

Swing Time

The pompom was the key. I have in my albums a few photographs of my mother in full 1960s regalia: Mary Quant knock-offs meant to give Detroit teenagers some of the verve and spark of swinging Londoners.

I saw that in the winter of 1969 she had gone to Niagara Falls in an oversized newsboy cap topped with just such a big, fluffy faux fur pompom. It perfectly matched her dressy short overcoat, with equally fluffy faux fur collar and cuffs.

The effect was goofy, but fun–an ensemble for a party girl who didn’t mind if her clothes shouted a bit.

There was my answer–let the pompom be the crowning touch on a hat that was boldly graphic, happy, even silly. A hat with some swing, in Union Jack colors. You can accessorize with red, white, and blue in the winter. Sure you can. James Bond did, while parachuting off a precipice in the Alps.

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Still from The Spy Who Loved Me. © 2008 Danjaq, United Artists, CPII. 007 TM and related James Bond Trademarks, TM Danjaq.

It didn’t take long to realize that the effect I wanted didn’t come across in conventional, concentric stockinette stripes running ’round and ’round from the band to the crown. I’d seen that a million times. It wasn’t surprising enough to support the pompom.

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I toyed with a few other ideas, like an asymmetrical Mondrian-inspired take on stranded colorwork.

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That didn’t get far. It’s not a bad idea, though structurally it’s more suited to intarsia than stranding. I might come back to this one another time. But no matter what I did, in these colors I couldn’t get it to look anything other than an Uncle Sam hat gone horribly awry.

Over the Top

I’d ripped back to just the band for the fourth time when I thought about the garter stitch short rows in the cage purse. Those had been so much fun to knit. I could do the hat in garter stitch, right? No law against that. And I could also build it in successive short rows. Like this:

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Each stripe would “eat up” two of the live stitches at the top of the band. The stripes would run across the top of the hat, instead of around the circumference. And there would be none of the usual decreases in the crown to interference with the progression of red, white, blue, red, white, blue.

Too Much of a Good Thing

Nothing gets me overexcited like trying out a new way to knit a familiar shape. I hate stopping to eat, or pee, or answer e-mails, or see people. I just want to go go go go go go until I find out whether it’s going to work or not.

I figured before I began that I’d need to increase in each stripe or the hat would be very short and fit like a teeny-weenie beanie. I planned the placement and rate of increases and zoomed along until in a gratifyingly short time the hat was almost off the needle. So I stuck it on my head.

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I think the stitch markers really add to the je ne sais quoi.

Oh, yeah. Fetching. Yeah.

Those two weird outcroppings at the right and left would have to go–or the whole idea would have to go.

The diagnosis? The bulges were the fault of the constant, violent increasing–clearly I needed to slow it down a bit. I’d been so worried about the hat being too small that I made it too big. Too big at each side. It sprouted saddlebags.

The next version, with increases tapering off about halfway through, was better.

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This better #@$!* work the second time, he thought.

I figured I could eliminate the remaining oddity in the shape with judicious blocking. HiKoo Simplicity is very malleable when wet.

As is my custom with any tam, I stretched the unblocked piece over a dinner plate.
Rather than soak it, I pulled out my steam iron and shot the top and (especially) the turned edge with jets and more jets of very hot steam, until everything except the band was quite damp. (If your iron doesn’t have a steam jet option, you can do this over a boiling tea kettle if you promise to be careful with your fingers.)

 

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Hover the hot iron near the fabric as you steam, but don’t touch the iron to the fabric.


I avoided steaming the band, because wet Simplicity stretches and a sopping wet band would have grown too large to fit properly. (Simplicity returns to its original dimensions after a spin in the tumble dryer–but then the entire hat would have come unblocked.)

Leaving the steamed hat on the plate, I set it aside to dry thoroughly overnight.

Drying things overnight is wonderful, because at some point exhaustion kicks in and I fall asleep and stop poking the piece every five minutes to see if it’s ready yet.

Crowning Touch

To find the exact center of the dry crown, I measured with the hat still on the plate and marked the spot with a locking ring stitch marker.

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I tied on the pompom. (LOVaFUR poms tie on, so you can change them out and move them around if you like.)

I called over a friend who has the perfect look for a hat like this.

I held my breath. I put it on her.

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I’m calling it a success.

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I’m calling it groovy, baby.

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I’m calling it…the Tricolor Muffin.

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Coming Up…

Wouldn’t you know it, the yarn for the next project arrived while this hat was in progress. And wouldn’t you know, it’s also heavy on red, white, and blue–though this time in HiKoo Simpliworsted and with the addition of gold.

When I opened the box, somehow Rosamund (whom you may remember from The Adventure of the Warm Puppy and More Excuses to Show You Pictures of My Adorable Dog) knew the contents were intended for her. Smart girl.

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Stop by in two weeks and I’ll show you what’s up.

In the meantime, we’ll be putting together a free pattern for the Tricolor Muffin. And if you don’t think you’re feeling quite up to the patriotic combo, we’ll have suggestions about other trios, other yarns, and other coordinating pompoms in the LOVaFUR line.

Tools and Materials Appearing in This Issue

HiKoo Simplicity (55% Merino Wool, 28% Acrylic, 17% Nylon. 117 yards per 50 gram hank)
Sheep Bowl (exclusive to Makers’ Mercantile!)
LOVaFUR Handmade Vegan Fur Pompom (shown in red/white/blue)
HiKoo Simpliworsted (55% Merino Wool, 25% Acrylic, 17% Nylon. 140 yards per 100 gram hank)
addi® Click Turbo Interchangeable Needle
Makers’ Mercantile Tape Measure (shown in Orange)

About Franklin

Designer, teacher, author and illustrator Franklin Habit is the author of It Itches: A Stash of Knitting Cartoons (Interweave Press, 2008). His newest book, I Dream of Yarn: A Knit and Crochet Coloring Book was brought out by Soho Publishing in May 2016 and is in its second printing.

He travels constantly to teach knitters at shops and guilds across the country and internationally; and has been a popular member of the faculties of such festivals as Vogue Knitting Live!, STITCHES Events, the Maryland Sheep and Wool Festival, Squam Arts Workshops, the Taos Wool Festival, Sock Summit, and the Madrona Fiber Arts Winter Retreat.

Franklin’s varied experience in the fiber world includes contributions of writing and design to Vogue KnittingYarn Market News, Interweave KnitsInterweave CrochetPieceWorkTwist Collective; and a regular columns and cartoons for Mason-Dixon Knitting, PLY Magazine, Lion Brand Yarns, and Skacel Collection/Makers’ Mercantile. Many of his independently published designs are available via Ravelry.com.

He is the longtime proprietor of The Panopticon, one of the most popular knitting blogs on the Internet (presently on hiatus).

Franklin lives in Chicago, Illinois, cohabiting shamelessly with 15,000 books, a Schacht spinning wheel, four looms, and a colony of yarn that multiplies whenever his back is turned.

Follow Franklin online via Twitter (@franklinhabit), Instagram (@franklin.habit), his Web site (franklinhabit.com) or his Facebook page.

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Craft Corner – Felted Acorns

I’ve tried to start this post with about a dozen different cheery “It’s fall y’all!!!” greetings, but as I write, it’s the first week in October, and there’s just a lot of bad news. Cee Cee and I have been talking about recent events, and it’s no surprise she likes hearing the survivor stories because they give her hope. As one way of dealing with this, she made a couple of bluebirds to give to friends. Our conversations have nudged me from worry, to feeling hopeless, to being hopeful. Cee Cee and I have found that connecting with friends to spread hope and joy around is contagious. And of course our favorite way to connect to joy,  is to create! So let me tell you what we’ve been up to.

We’re not what you’d call fancy people. In fact 97% of my phone’s photo album is full of images trying to avoid shots of our very outdated dining room wallpaper! Well, This month brings a project that helps our decor dilemma. Thanks to wool felted acorns, a couple of pumpkins and some gold paint we have a lovely Fall table centerpiece! Every time I walk past it, it makes me smile. We tried a few different techniques, including needle felting, wet felting, and artFelt® to make Cee Cee’s acorns. ArtFelt was definitely the most fun! We added a few drops of essential oil and now they smell good too. We created our “wooly” pumpkin by gluing roving to every other section of its orange little body. We were surprised how the colors matched perfectly. Cee Cee wants a whole field of wooly pumpkins!

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October is also known for not only Halloween, but also for something called Black Cat Awareness Month. Cee Cee loves cats so of course she wants to celebrate it. She says there are stories about black cats being treated badly because of being associated with witchcraft. When I asked her where she learned this, she answered “in a cat magazine!”

Time for a little fact checking. We sat down at the computer and started searching for facts to support this statement, and learned that according to many sources, this is more of an urban legend than reality. (Cee Cee was relieved!) We did learn however, that black cats (in October and all year long) are less likely to be adopted, and spend more time in shelters. She made a sweet little black cat to remind people to be a little extra kind to our feline friends, and to consider adopting a black or tuxedo kitty next time you’re ready to grow your fur-family.

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She sketched out a simple cat and stitched him up in an afternoon. You can make your very own by getting the pattern on the Makers’ Mercantile website HERE. She’s including the pattern even though she thinks you should be brave and trust your own artistic abilities to sketch out your own cat pieces.

Find yourself a little joy this month and make something. Even better, make something and give it to someone else who needs a little joy. We’re busting out the knitting needles and turning lots of heels for a November project to help you get ready for the holidays.

Now for an exciting giveaway: This felt cat will get to come live with one of you! Cee Cee is giving him away….all you have to do is leave a comment in the blog (tell us what you love to make in the Fall) and we will choose a winner! Winner will be selected and announced in November’s Craft Corner post.

Have a wonderful month!!!

-BeLinda and Cee Cee

P.S. Don’t forget to leave us a comment!! Cee Cee can’t wait to find out who wins her little black cat!

Tools and Materials Appearing in This Issue

artFelt® Acorns

artFelt® paper
artFelt® tackboard
artFelt® needles
Makers’ Mercantile® Felter’s Wool (assorted colors)

Cee Cee’s Felt Cat

Black Felt
Scissors
Embroidery Floss

ABOUT 

CeeCee1Cee Cee Creech is growing up in a home full of creativity. Mom BeLinda loves making things, and Cee Cee loves it too. In 2011 Cee Cee changed their lives when she wanted to knit elephants to comfort the residents of Joplin, MO after a tornado destroyed their town.

This mom/daughter team has raised thousands of dollars, and made/distributed toys for charities all of the world. Today, Cee Cee is a high school student, curious maker, and the teen craft ambassador for Makers’ Mercantile. Follow their adventures on the Craft Corner.

All in the Wrist: A Handy Guide to Making and Giving Button Cuff Links

fwf-logo-v11For an introduction to what goes on in this column, click here.

I grew up in a family of Jewelry Guys. Guys like my grandfather. He wore dark, conservative suits to work; but at leisure, he treated each finger to a fat, gold ring and fastened thick ropes and chains of gold around his neck and wrists. The term “bling daddy” was not then in common usage, so my grandfather was described by Marv, his favorite jeweler, as being “a connoisseur of the finer men’s accessories.”

I inherited one of my grandfather’s signet rings. It’s a lump of solid gold with his initials engraved in a script so florid that it’s totally illegible. I never wear it. First, because my grandfather’s hands were so plump that this (a pinky ring) is too large to wear on my thumb. Second, it’s so heavy that if I hung it around my neck (as a friend suggested) I would be unable to stand upright.

I did not care for my grandfather’s aesthetic. He was, in my hotheaded teenaged opinion, far too shiny far too much of the time. What with the gold decorations, the rayon camp shirts, and the Brilliantine that glued his remaining hair to his skull, he sparkled like the top of the Chrysler Building at dawn. A bit much, I thought, for a quiet, middle-class life in the Detroit suburbs.

Then I grew to manhood. And though my own gold chains and charms (all childhood gifts from grandpa’s side of the family) sit untouched next to that enormous ring, I have discovered that I, the little bauble, have not fallen far from the gewgaw tree.

The only difference is where I put the decorations.

My weakness? Cuff links.

Oh, sweet sainted Harry Winston how I do love cuff links. My collection is ridiculous.

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No, that’s not all of them. Not even close.

I wear them, yes. I but I don’t wear them absolutely every day; and even if I did, no person needs this many cuff links. It’s not as though they wear out frequently. And most cuffed shirts come with, you know, buttons. Buttons are far more convenient. Buttons are practical. Buttons make sense.

Yet I keep on buying cuff links.

The Perfect Motif

Not that I buy indiscriminately. Heavens, no. Aside from the potentially catastrophic drain on my bank balance, the most frustrating thing about the cuff link obsession is that modern jewelers assume men want links reflecting one of these lifestyles:

• golfing,
• horse racing,
• duck hunting,
• yachting,
• private aviation,
• high-stakes poker,
• drug trafficking.

These do not appeal to me, but the cuff link world tips heavily to designs incorporating golf tees, horseshoes, mallards, anchors, propellers, aces and spades, and huge weird agglomerations of colored rhinestones stuck in large chunks of all that glitters but is not gold.

No, thank you.

When I do find a set that expresses Who I Am as a Cuff Link Wearer, I snatch it right up. For example, florals. I love flowers. These anonymous Art Nouveau snowdrops were in a jar in a Seattle antiques mall. I got ’em for less than twenty bucks.

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And these beanies? A gift, from a friend whose husband wore them for years on the bench as a judge. I may ask to be buried in them.

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Those are propellers I can dig. (And they spin!)

Do It Yourself

I am delighted to find that some of the paraphernalia of traditional American and European menswear is making a comeback. There are burgeoning cuff link collectors groups, and groups for men who like suits, and what-have-you.

Most manufacturers have yet to catch up with the modern diversity of tastes, though. So it’s a relief and a pleasure to learn that if you have access to a supplier like Makers’ Mercantile, which carries the full line of Skacel Buttons, you can quite easily make handsome, fun cuff links that speak to those outside the horsie-duckie-boaty set.

There are many ways to go about making cufflinks from buttons. I’m going to show two in this column. Both methods are accessible to people who are not otherwise deeply into making jewelry, and who haven’t got any special jewelry-making equipment at home.

First, though, let’s have a look at a few buttons.

The Button Line-Up

Makers’ Mercantile’s button selection is famously rich; they carry all the lines of Skacel Buttons, as well as other fine makers. The materials are as varied as glass, antler, coconut, enamel, horn, plastic, shell, and wood.

For these cuff links, we want shank buttons–buttons which attach to fabric by integral loops on the back…

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… rather than holes through the body of the button.

It took me hours, but I narrowed my choices to these:

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Glass: Circling Flowers, 18 mm

Available Here.

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Picture Buttons: Comic, 18mm

Available Here.

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Enamel: Yin & Yang Cats, 18mm

Available Here.

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Metal: Acorn and Leaves, Antique Silver finish, 15 mm

Available Here.

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Enamel: Skull, Black Gun Metal Shank, 15mm

Available Here.

Method One: Two-Button (Double-Sided) Links

Two-button links require, as the name suggests, two buttons for each cuff. They are double-sided, meaning the finished link is decorative on both sides. They are not only extra handsome, they’re also best for shank buttons whose shanks are difficult or impossible to remove.

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Pliers (left) and Nippers (right)

To make them, you’ll need:

• four shank buttons, matching or coordinating
• two four-inch lengths of 18-gauge craft wire
• wire nippers
• needle nose pliers

The buttons I chose for this method are from Skacel’s line of European glass. I could have ground or filed off the shanks (more about that in the next section), but there’s a risk of breakage. Also, I am deeply enamored of this design and wanted to multiply it by four.

 

Step 1. Slide the wire through the shank of the first button and, using the pliers, bend back half an inch of the wire.The first button is now loosely secured in place.

Note: 18-gauge wire is sturdy enough not to snap from normal use, but flexible enough that you won’t need brute strength to work with it. Most folks can easily bend and twist it with fingers, but pliers will make it easier to be precise.

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Step 2. Slide the other end of the wire through the shank of the second button, until the button rests against the cut end of the first bend.

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Step 3. Bend back the free end of the wire to loosely secure the second button.

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Step 4. With the pliers, gently coil the free end of the wire around and around the length of wire connecting the buttons, starting just past the shank of the second button. Continue to coil until you reach the shank of the first button.

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Step 5. With the nippers, snip off the remainder of the wire.

Step 6. With the pliers, press the cut end of the wire into the coil to secure.

And there you have a double-sided cufflink.

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IMPORTANT NOTE. In this case, I am using four of the same button. But here’s a caveat: some buttons may be the right diameter to serve as links, but may also be too thick to easily fit through a ready-made buttonhole. That is, in fact, the case with these glass buttons.

Does it mean I can’t use these? Not at all. My preferred shirt brand is extra-generous with the buttonholes, so these will squeak through. But what I will likely do for ease of dressing is replace the second button with a smaller, coordinating button like this one, BR0971G14, which is 14mm rather than 18mm:

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Then only the smaller button need pass through the holes. Combining a smaller button and a larger button looks perfectly fine, and does allow you (if you so desire) to use quite large and flashy buttons for the outside of your two-button link. That’s an especially fun way to dress up a plain blouse, by the way.

Method Two: Lever-Back Links

This is even simpler than method one. ‘

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cuff link blanks

You will need:

 

• two buttons, matching or coordinating
• two good-quality cuff link blanks, available from Makers’ Mercantile
• a metal file or a motorized grinding tool
• a hot glue gun
• safety glasses or goggles
• a small vise (if using motorized grinder)

First, we want to get rid of the button shanks.

Before we do that, keep in mind that we’re dealing with metal. Bits of it tend to fly off as we work. This isn’t difficult, and it’s nothing to be scared of. However, reasonable safety precautions are vital. First, eye protection: safety goggles or safety glasses.

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Second, do this only in area where you will not endanger others–keep pets, kids, nosy partners, etcetera, well away. A workshop, garage, or outdoor space is a best bet; and always do a thorough sweep/vacuum afterwards to remove all metal debris you create.

On all the metal-back buttons I selected, I was able to easily snip off the shanks…

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…using a pair of standard, inexpensive wire nippers–easily procured from a hardware dealer, and likely already sitting in your toolbox if you have one.

Post clipping, all the buttons still had vestigial nubbins on the back.

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To make a really nice set of links, we want to remove the nubbins and create a completely flat surface.

There are two options. The first works perfectly well, but takes a little longer. Use a metal file…

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…and file away by hand until the nubbins are gone. It takes less time than you think.

Or, if you have a little motorized helper like a Dremel, you can pop in a metal-grinding attachment (this is Dremel Head 8193)…

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…and use it to grind off the nubs after you have placed the button securely in a vise…

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…which I like to drape with a piece of scrap cloth or (better) a thin rubber pad to avoid scraping the finish on the public side of the button.

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After grinding, give the button a minute to cool down completely before you take it out of the vise.

It should go without saying, but I’ll say it anyway: Do not ever attempt to grind the back of a button with a motorized tool while holding the button in your hand. 

With the back of your buttons nice and smooth, fetch your cuff link blanks and your hot glue gun.

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pew pew pew

Apply a nice blob of hot glue to the pad on the blank, spreading it out a bit but keeping away from the edges…

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…and immediately press it against the center back of the button.

The glue will set quickly, but let the piece sit and harden for a good 30 minutes before you try to put it on. If you find any stray “hairs” of glue showing, they’re easy to pick off before you give the link a final buff with a clean cloth.

Should you mess up, by the way–say, you don’t put the two surfaces together quite quickly enough and they won’t stick–it’s possible to pick off the dry glue and try again. Ask me how I know.

 

Cuff Link Giving Guide

In less than an hour, I found myself with multiple new, cute sets of cuff links–all of them slick enough for me to wear in a dressy setting. I can’t keep them all, sadly, so I’ve been thinking about who else might like to have them.

Zap! Splat!

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Suited To: Comic Book Fans, Gamers, Superheroes, Illustrators, Stylish Street Fighters

Skulls

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Suited To: Undertakers, Horror Fans, Bikers, Anatomy Professors, Goth Bankers, The Undead

Kitties

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Suited To: Cat People, People with Cats, Cat Fanciers, Most Knitters You Will Ever Know, Veterinarians

Oak Leaf and Acorns

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Suited To: Academics, Botanists, Lumberjacks, Tree Surgeons, Squirrels, Piglet

Next Time…

I put away the glue gun, roll up my sleeves, and try to figure out what to do when Makers’ Mercantile sends me this.

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See you in two weeks.

Tools and Materials Appearing in This Issue

Glass Shiny Black Circling Flowers Buttons, 14 and 18 mm
Skacel Buttons Enamel Yin & Yang Cats, Black and White, 18mm
Skacel Buttons Enamel Skull, Black Gun Metal Shank, 15mm
Skacel Buttons Metal Acorn and Leaves, 15mm
Skacel Buttons Picture Comic Buttons, 18mm (shown in Zap! and Splat!; also available in Bang!, Bonk!, Kapow!, and Thwack!)
Cuff Link Blanks

About Franklin

Designer, teacher, author and illustrator Franklin Habit is the author of It Itches: A Stash of Knitting Cartoons (Interweave Press, 2008). His newest book, I Dream of Yarn: A Knit and Crochet Coloring Book was brought out by Soho Publishing in May 2016 and is in its second printing.

He travels constantly to teach knitters at shops and guilds across the country and internationally; and has been a popular member of the faculties of such festivals as Vogue Knitting Live!, STITCHES Events, the Maryland Sheep and Wool Festival, Squam Arts Workshops, the Taos Wool Festival, Sock Summit, and the Madrona Fiber Arts Winter Retreat.

Franklin’s varied experience in the fiber world includes contributions of writing and design to Vogue KnittingYarn Market News, Interweave KnitsInterweave CrochetPieceWorkTwist Collective; and a regular columns and cartoons for Mason-Dixon Knitting, PLY Magazine, Lion Brand Yarns, and Skacel Collection/Makers’ Mercantile. Many of his independently published designs are available via Ravelry.com.

He is the longtime proprietor of The Panopticon, one of the most popular knitting blogs on the Internet (presently on hiatus).

Franklin lives in Chicago, Illinois, cohabiting shamelessly with 15,000 books, a Schacht spinning wheel, four looms, and a colony of yarn that multiplies whenever his back is turned.

Follow Franklin online via Twitter (@franklinhabit), Instagram (@franklin.habit), his Web site (franklinhabit.com) or his Facebook page.

AlterKnit Stitch Dictionary

I really enjoy reading and collecting knitting books, but I have a special place in my heart – and on my craft room shelves – for stitch dictionaries.  Several months ago, when I first saw the announcement about Interweave’s new book Alterknit Stitch Dictionary by Andrea Rangel, I immediately got excited and knew it would soon become part of my library. Like most people in this industry I have a craft room in my home, complete with shelves upon shelves of books. Vintage and new stitch dictionaries share the shelf, and for the most part, they offer traditional or traditional-inspired motifs. When this book arrived, I realized it was unlike the majority of books in my collection.

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Flipping through the book for the first time, I was impressed with the wide array of Andrea’s color-work charts.  Being a pretty conservative guy, I definitely enjoyed seeing her version of standard, classic geometric motifs.  What really surprised me, was how much I enjoyed and was inspired by her less conventional designs! She has masterfully addressed more contemporary shapes and filled the pages of this book with unexpected patterns.


Motifs such as the Escher-inspired bats (page 70) could easily become a pattern on socks or gloves!

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When I turned to the Broken Shield chart (page 89), I imagined a fun blanket with blocks of this pattern in in different colors. I like how the lines play with each other in this design… it’s such a neat optical illusion.

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…and then things got really fun! I have never seen a pattern book with a “Poopin’ Pig” chart in it (Page 115)! Andrea, you’ve really made some designs that made me smile!Screen Shot 2017-09-11 at 9.52.50 AM.png

She has truly included options for all knitters!

The book then goes a step further and offers several full patterns that incorporate some of her motifs – included are mittens, a hat, a cowl, and a couple sweaters.

I think what I like most about stitch dictionaries is that they inspire me to think.  To think about what I would make for myself with a certain motif or who would be the perfect recipient for the wacky Poopin’ Pig design!  This book really is full of inspiration, and judging from how inspired I am after spending an afternoon reviewing its offering, I’m certain it will guide me from project to project for years to come!

Happy Making!

-Chuck


Chuck Wilmesher.jpg

About 

Chuck Wilmesher is the Director of New Product Development for Skacel Collection based just outside of Seattle, WA, and spends his days working to create new products for us to enjoy. He is also an avid knitter and fiber fanatic. 

Introducing Craft Corner

Craft Corner

It’s a rainy afternoon in September in Kentucky. I’m busy finishing a hat for a birthday, Cee Cee is tucked in on the couch stitching a cat and we are watching Tales of the Green Valley. We had the felt out earlier practicing stitching and working out an idea for a cat, but more about that later.  We are enjoying a quiet afternoon together…. making stuff is our favorite.

Some of you have followed Cee Cee since she started Elephants Remember Joplin (how has that been over six years already?!) And some of you are just friends we haven’t met yet. We are so  excited to be part of the Makers’ Mercantile family. We’ve been planning projects, working on blogging, creating a crafty bucket list…it’s going to be so much fun! Cee Cee is so inspired by being the Teen Craft Ambassador for Makers’ Mercantile (and how awesome is it when adults empower young people and listen to their ideas and help them grow?) We spend lots of time together…and lots of time making things, and now we have the opportunity to share the fun with you! 

ceeceestitching

We want to inspire you to make our projects… we’ve all had cheap kits and ideas that looked great but couldn’t be done. We want to share quality projects that are fun to do. We want to learn new skills and share with others.

So welcome to Craft Corner… even the name comes from mother/daughter crafting. My Mom had a shop on the Main Street of our little town when I was a teenager, and it was called Craft Corner. I spent lots of time there with my Mom, and lots of time creating!

We hope that you will join us as we find projects for teens and tweens and great projects to do with your Mom, Dad, daughter, son, or friend. The only thing  more fun than making stuff is making stuff together!

-Belinda (and Cee Cee!)


About 

CeeCee1Cee Cee Creech is growing up in a home full of creativity. Mom BeLinda loves making things, and Cee Cee loves it too. In 2011 Cee Cee changed their lives when she wanted to knit elephants to comfort the residents of Joplin, MO after a tornado destroyed their town.

This mom/daughter team has raised thousands of dollars, and made/distributed toys for charities all of the world. Today, Cee Cee is a high school student, curious maker, and the teen craft ambassador for Makers’ Mercantile. Follow their adventures on the Craft Corner.

Cage Match, Concluded

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For an introduction to what goes on in this column, click here.

For the first part of this adventure, click here.

I almost feel as though this week I should begin with an apology for the lack of drama in what follows.

I try to give you a good read, truly I do, with laughs and thrills and the occasional car chase; but you can’t, as my grandmother famously said while on a date with Mick Jagger, always get what you want.

To get the Makers’ Mercantile cage purse across the finish line, I had two things left to do:

  1. Attach the woven lining to the knitted liner.
  2. Attach the liner to the leather cage.

There are knitters who steer clear of making purses and bags on principle, just to avoid woven linings. This is a great pity. A knit or crochet bag with a woven lining will be stronger and more durable, less inclined to droop and pull out of shape, and less liable to catch and snag everything you put into it.

And sewing is not (or at least, need not be) the trauma some think it is. A simple bag lining is about as simple as sewing gets. More about that in a minute.

Make It Snappy

Now, the “official” pattern that comes with cage purse kits is available as a free download from Makers’ Mercantile. I used it as my guide for designing a lining of my own, and as usual I decided to make some adjustments. I don’t think I’ve ever followed anyone’s pattern exactly as written.

I decided to install the snaps, which are included with the cage,

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before sewing in the lining, whereas the pattern suggests you do the reverse. On your purse, you choose.

If you’ve never put in a snap before, rest assured these are a breeze. Since my bag was quite freeform at the top, I put it into the cage to see exactly where the male* halves of my snaps (pictured above) needed to be in order to line up with the female* halves of the snaps on the cage (which come already installed). I marked these spots on the liner with locking ring stitch markers.

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Then you make a little sandwich with each snap, one by one, like this…

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…with the post on the back of the snap stuck right through the knitted fabric.

Then you place the cylinder tool…

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over the nubbin on the front of the snap, and tap the cylinder with a hammer. I do mean tap. Brute force is not required. It took me two modest taps to get each snap set firmly. Boom.

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I’ve never felt more butch.

The knitted portion of my liner being thus completed, it was time to add the woven lining.

Line It Up

The official pattern for the cage purse gives full instructions for this part of the project, so I’ll confine myself to a few notes about linings generally.

First. Use the best woven (as opposed to commercial knit/jersey) fabric you can afford. It need not be expensive; but if you have the choice, buy from a reputable retailer who carries reputable lines.

If you buy in person, give the fabric a good fondle and a few firm tugs. If it looks flimsy and feels sleazy, if the printing is muddy, if it seems inclined stretch out of shape easily, if you can read a comic book through it, it probably won’t stand up well to the demands placed on a handbag. It may, in fact, fall apart as you sew with it. Fabrics whose standard retail prices are super cheap are usually super cheap for good reason.

I went with a print from Cotton + Steel called “Cat Lady,” …

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…because in my social circle, it’s inevitable that whoever gets this purse is going to stuff it with balls of yarn. She will probably also have at least one cat.

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Note: The lighting in this shot tipped the blue quite a bit. It’s really far closer to the navy in the previous photograph.

Second. Don’t skimp on the preparatory steps.

Sewing has a different flow than either knitting or crochet. Both knitting and crochet consist, in the main, of knitting and crocheting. Other stuff–seaming, blocking, weaving in–comes in at the end. We front-load the fun. Sewing insists that you begin with planning, measuring, cutting, pinning. It takes time to get to the sewing part of sewing.

This feels ass-backwards somewhat odd to those of us who knit and crochet.

Listen. If you hate the preliminary steps, that’s okay. Acknowledge that. Embrace that. Then take a breath and do them anyway. It may help to have a good friend supervise you.

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“After you weave in all those ends and take your measurements, you may have a cookie.”

Since my liner pattern was something I cooked up myself, I measured the end product to be certain it would accommodate the lining described in the official pattern. Turns out my liner was a smidge taller and a smidge narrower. I adjusted my cut pieces accordingly.

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Measure twice, cut once. Maybe measure three times.

Third. Don’t let unfamiliar techniques frighten you.

When I teach Introduction to Hand Sewing, we end our class project with slip stitch–the same stitch that joins the woven lining to the knitting liner. Students often approach slip stitch with trepidation because it looks like a magic trick. You sew and sew, and when you’re finished you can’t see the sewing. You just have two fabrics that are now joined, invisibly.

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Cool, right?

And you can do it. Yes, you can. Most of what used to be called plain sewing–the toolkit of handmade stitches necessary to turn out everyday items–was taught as a matter of course to little girls for centuries.

Are you going to let some little Dickensian imp in a dirty pinafore sew circles around you?

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Heck no.

Here is all there is behind the “magic” of slip stitch.

After the lining pieces have been sewn together, turn and press the lining fabric to the wrong side as directed in the pattern.

 

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Kindly note my new, adorable fire engine red Bohin embroidery scissors in background.


Place the liner inside the lining…

 

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…and secure it with a generous number of straight pins so that you can focus on your stitching.

Step One.

Thread your sewing needle with a coordinating thread, and tie a stout knot at the end.

Bring the needle up through the fabric at point A, which you will notice is right on the fold of the lining. (Alternatively, especially if the ghost of my late grandmother is watching you, instead of using a knot you may secure the beginning with a series of tiny stitches at point A. This is called a “tack.”)

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Step Two.

Take a small stitch in the liner (knitted) fabric at Point B (directly above Point A, near the top edge of the woven lining). Note: My stitches into the liner all went around–rather than through–strands of yarn, as this felt more secure than splitting strands with the sewing needle.

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Step Three.

Take a horizontal stitch into the fold+ of the woven lining by putting the needle in at Point C and out at Point D.

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Step Four.

Take a horizontal stitch into the knitted liner from Point E to Point F, near to and parallel to the top edge of the woven lining.

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Repeat Steps Three and Four all the way around the liner. Every few stitches, gently pull the thread to even out the tension of the sewing stitches. You want the lining to lie smooth against the liner– don’t pull so hard that puckers begin to form. When the seam is complete, fasten off with a discreet, small tack in the woven lining.

That’s it.

+Some say just behind the fold. Your choice. In sewing, as in knitting and crochet, there are many paths to the same destination.

In the Bag

What else can I say? I’m really pleased with it. I wanted the sinuous lines of the short rows to wiggle and play against the straight edges of the cage, and they do.

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It could be about an inch bigger all around at the base, to really fill up the cage; but that’s about all I’d change.

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What’s more: as the liner is held to the cage with snaps, it can be removed and replaced with any number of other linings whenever inspiration strikes or your mood changes.

It didn’t even take long to knit–comparable to a hat. I’m already thinking of other liners–crocheted, embroidered, woven. And other yarns, too. These were all left over from previous Fridays with Franklin projects, but they could have been:

assorted lengths of handspun

souvenir yarns collected on a memorable trip…

the leftover yarn from a favorite sweater for a matching sweater/purse combo

bits of yarn (and blobs of knitting) contributed by a members of a group to make a special farewell or birthday gift

And the yarns you put into a cage liner are right there, with you, visible and useful. A souvenir afghan is lovely, but it usually has to stay at home. Not to mention that the usual everybody-knit-a-square afghan requires a lot of work and a mountain of yarn. A souvenir/commemorative cage purse is well within the grasp of knitters or knitting groups who are short on cash, pressed for time, or just plain lazy.

Coming Up

The next Fridays with Franklin will be the first in which I get to use a vise and power tools. That’s all I’m telling you right now. Nope, sorry. My lips are buttoned.

*I’m not trying to be cute. That’s what they’re called.

Tools and Materials Appearing in This Issue

Makers’ Mercantile Leather Cage Purse available separately or as a kit
Bohin Embroidery Scissors (shown in Red, available in six colors)
Makers’ Mercantile Tape Measure (shown in Orange, available in seven colors)
HiKoo Simpliworsted (55% Merino Wool, 25% Acrylic, 17% Nylon. 140 yards per 100 gram hank)
HiKoo Rylie (50% Baby Alpaca, 25% Mulberry Silk, 25% Linen. 274 yards per 50 gram hank)
HiKoo Kenzie (50% New Zealand Merino Wool, 25% Nylon, 10% Angora, 10% Alpaca, 5% Silk Noils. 160 yards per 50 gram ball)
HiKoo Kenzington (60% New Zealand Merino, 25% Nylon, 10% Alpaca, 5% Silk Noils. 208 yards per 100 gram hank)
Schoppel-Wolle Leinen Los (70% Wool, 30% Linen. 328 yards per 100 gram ball)

About Franklin

Designer, teacher, author and illustrator Franklin Habit is the author of It Itches: A Stash of Knitting Cartoons (Interweave Press, 2008). His new book, I Dream of Yarn: A Knit and Crochet Coloring Book was brought out by Soho Publishing in May 2016 and is in its second printing.

He travels constantly to teach knitters at shops and guilds across the country and internationally; and has been a popular member of the faculties of such festivals as Vogue Knitting Live!, STITCHES Events, the Maryland Sheep and Wool Festival, Squam Arts Workshops, the Taos Wool Festival, Sock Summit, and the Madrona Fiber Arts Winter Retreat.

Franklin’s varied experience in the fiber world includes contributions of writing and design to Vogue KnittingYarn Market News, Interweave KnitsInterweave CrochetPieceWorkTwist Collective; and a regular columns and cartoons for Mason-Dixon Knitting, PLY Magazine, Lion Brand Yarns, and Skacel Collection/Makers’ Mercantile. Many of his independently published designs are available via Ravelry.com.

He is the longtime proprietor of The Panopticon, one of the most popular knitting blogs on the Internet (presently on hiatus).

Franklin lives in Chicago, Illinois, cohabiting shamelessly with 15,000 books, a Schacht spinning wheel, four looms, and a colony of yarn that multiplies whenever his back is turned.

Follow Franklin online via Twitter (@franklinhabit), Instagram (@franklin.habit), his Web site (franklinhabit.com) or his Facebook page.

 

 

 

 

 

 

 

 

End of Summer Scarf

End of Summer Scarf1

Celebrate the end of summer with this sweet scarf! Once the crochet fun is done, there’s an added element of shibori-inspired circles made using our circular tape measure as a guide.

First things first: Get the free pattern HERE!

Next: Gather your materials in the shop. (Use code: VICKIE10 at checkout for 10% off!)

One ball Schoppel Wolle Zauberball Cotton (100% cotton; 162 yds/100 gr), in color: #2338

Size U.S. G/4.5 mm Addi Premium Olive Wood Hook

Tapestry needle

Round measuring tape (template for optional Shibori detailing)

 

Happy Making!

-Vickie


vickiehowell

About Vickie Howell

Vickie Howell is the Host/Executive Producer of The Knit Show with Vickie Howell. Season one debuts on YouTube on October 5, 2017. For more information on Vickie and the rest of her projects follow @vickiehowell and @theknitshow on social media.

Cage Match, Part Three

fwf-logo-v11For an introduction to what goes on in this column, click here.

For the first part of this adventure, click here.

I was at a gathering once with a knitter who held up her shawl-in-progress and squealed, “This has been so much fun to knit! I’m actually slowing down because I don’t want it to end!”

I had no idea what she was talking about.

I am often sick to death of even a fun project weeks…months…years…before I bind off. This is nothing to boast of, and explains the shameful state of the dimmest corner of my workroom. There lie projects that it would be wrong to describe as “hibernating,” unless you would agree that the buried and fossilized remains of cretaceous reptiles are just having a nap down there.

You may therefore imagine my astonishment when the “leftovers” lining for the Makers’ Mercantile cage purse

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…was so much fun to work on that I had to force myself to stop and bind off.

There were no great departures from the plan I tested in the miniature version. I knit the oval(ish) bottom in HiKoo Simpliworsted 952 (Peacock Tonal), beginning at the center with Judy’s Magic Cast On…

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Please take a moment to admire my handsome bottom. Thank you.

…and was even more pleased with the results this time, since I used stitch markers right from the start and therefore didn’t misplace my increases quite so often.

When the bottom was big enough, I took stock of how many live stitches I had (answer: 108). This divides obligingly into four, which settled the question of how many stitches I’d use as the basis for each short-rowed blob of color (answer: 27). Since the bag would have no further shaping, it would always take me about four blobs* to go around once.

Given that I’d be using four different yarn bases in eight different colorways, I felt sure I could use a consistent base number without the blobs looking too much alike. I really wanted to avoid uniformity, to give this bag an organic feel, like layers of sediment** that had built up naturally atop one another.

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Here is the recipe for a blob:

Row 1 (RS): Join the new color, knit 27 stitches. Wrap and turn a stitch in the adjacent blob (see part two).

Row 2 (WS): Knit all stitches in the new color. Wrap and turn a stitch in the adjacent blob.

Row 3 (RS): Knit to penultimate stitch of blob (1 stitch less than previous row). Wrap and turn.

Row 4 (WS): As Row 3.

Repeat Rows 3 and 4 until blob reaches desired blobbiness, ending with a WS row. Break working yarn, leaving a tail of 5-6 inches to weave in later.

Turn work. Slip the live stitches of the just-completed blob from left needle to right needle as if to purl until your right needle tip is wherever you’d like the next blob to begin. Begin again from Row 1 for next blob.

For added verve, vary the length and/or starting point of some blobs by a stitch or two. Pretty much anything you do is going to look interesting and quite possibly beautiful.

Tiny tip: when joining in each new color, leave the tail hanging on the right side of the fabric like this:

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When you join a new yarn, let the tail hang on the right side of the work.

As you work, the tail gets pinched between the stitches on either side; and your first stitch won’t pull loose quite so readily as when you leave the tail hanging on the wrong side. (When it’s time to weave in ends, just bring the tail through to the wrong side and proceed as usual.)

From blob to blob, as the yarns changed so did the gauge. Blobs knit in HiKoo Kenzington and HiKoo Simpliworsted were quite firm…

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HiKoo Kenzington above, HiKoo Simpliworsted below.

…whereas HiKoo Rylie was so fine in comparison to Kenzington and the various forms of Simpliworsted that I decided to knit it with a strand of each colorway (086 Periwinkle and 087 Freesia) held double.

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I was thrilled with the blend.

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Good blobs, on the whole; but as they all came from the bright-blue-into-purple camp I was afraid the bag might tip over into something too sweetly candy-colored for my taste.

That’s where the Schoppel-Wolle Leinen Los

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came in.

I decided to run a occasional stripe of this through the fabric to break things up. Since the two colors of Rylie had worked so well together, I decided to try a strand each of colorways 980 and 7653 together….

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…and you could see it from fifteen feet away. It screamed. So I ripped back and tried again with two strands of 7653 together.

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Better. Rather than short-rowed blobs, these occasional bits of Leinen Los were short-rowed stripes. In other words, work all the way from the first stitch of the round to the last, wrap and turn, and knit back in the other direction. I could have knit a round and then purled a round–but I was having so much fun with the short rows I didn’t want to stop.

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In fact, my enthusiasm never flagged. When at length it struck me that I ought to take a measurement and see if I’d made the bag tall enough, I was an inch over the target.

You know what? I really like it.

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Once the ends have been woven in, I’ll give it a wet block to settle it into to its final proportions.

Then, the final step before it goes into the cage: a woven fabric lining. I love a woven lining in a knit or crocheted bag. I plan to plunder with pleasure the Makers’ Mercantile lines of lovely cotton prints. Did you know Makers’ Mercantile carries deluxe cotton prints, among other fabrics and trims?

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Oh, but they do. They do! Cotton + Steel, Liberty of London, Seven Islands

See you in two weeks.

*I hope this isn’t getting too technical for you.
**Yeah, the sedimentary layers in this case are mainly purple. But still.

Tools and Materials Appearing in This Issue

Makers’ Mercantile Leather Cage Purse available separately or as a kit
addi® Olive Wood Circular Needle available in fixed and interchangeable varieties
Schacht Cricket 15-inch Rigid Heddle Loom
HiKoo Simpliworsted (55% Merino Wool, 25% Acrylic, 17% Nylon. 140 yards per 100 gram hank)
HiKoo Rylie (50% Baby Alpaca, 25% Mulberry Silk, 25% Linen. 274 yards per 50 gram hank)
HiKoo Kenzie (50% New Zealand Merino Wool, 25% Nylon, 10% Angora, 10% Alpaca, 5% Silk Noils. 160 yards per 50 gram ball)
HiKoo Kenzington (60% New Zealand Merino, 25% Nylon, 10% Alpaca, 5% Silk Noils. 208 yards per 100 gram hank)
Schoppel-Wolle Leinen Los (70% Wool, 30% Linen. 328 yards per 100 gram ball)

About Franklin

Designer, teacher, author and illustrator Franklin Habit is the author of It Itches: A Stash of Knitting Cartoons (Interweave Press, 2008). His new book, I Dream of Yarn: A Knit and Crochet Coloring Book was brought out by Soho Publishing in May 2016 and is in its second printing.

He travels constantly to teach knitters at shops and guilds across the country and internationally; and has been a popular member of the faculties of such festivals as Vogue Knitting Live!, STITCHES Events, the Maryland Sheep and Wool Festival, Squam Arts Workshops, the Taos Wool Festival, Sock Summit, and the Madrona Fiber Arts Winter Retreat.

Franklin’s varied experience in the fiber world includes contributions of writing and design to Vogue KnittingYarn Market News, Interweave KnitsInterweave CrochetPieceWorkTwist Collective; and a regular columns and cartoons for Mason-Dixon Knitting, PLY Magazine, Lion Brand Yarns, and Skacel Collection/Makers’ Mercantile. Many of his independently published designs are available via Ravelry.com.

He is the longtime proprietor of The Panopticon, one of the most popular knitting blogs on the Internet (presently on hiatus).

Franklin lives in Chicago, Illinois, cohabiting shamelessly with 15,000 books, a Schacht spinning wheel, four looms, and a colony of yarn that multiplies whenever his back is turned.

Follow Franklin online via Twitter (@franklinhabit), Instagram (@franklin.habit), his Web site (franklinhabit.com) or his Facebook page.

Cage Match, Part Two

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For an introduction to what goes on in this column, click here.

For the first part of this adventure, click here.

Before I sat down to do up today’s column, I flipped back to Part One and found I’d written this about insert for my Makers’ Mercantile Cage Purse:

“I felt this piece ought to be as simple as possible.”

And I’d written this:

“This piece will be nothing but garter stripes.”

Ha. Haha. Hahahahahahahahahahahahaha.

Nice Bottom

After I’d posted Options 1 and 2…

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…of course Options 3, 4, 5, 6, 7, 8, and 9 presented themselves at the darnedest moments. Walking Rosamund, waiting for the subway, showering, listening to upstairs neighbor’s kid practice her tap dancing at 4 a.m.

The more I turned over the ideas, the more I felt I’d like work the liner all in one piece. What about a bottom worked circularly? Could I do that?

It seemed to me I could.

This was my sketch.

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The cast on you see referenced there is, of course, Judy’s Magic Cast on by the (let us now praise famous knitters) Judy Becker. She describes how to do better than I ever could, here at Knitty.com.

Judy invented it as a gorgeous and fuss-free beginning for toe-up socks, but I’ve never used it for toe-up socks. I’ve used it countless times, though, as either the circular beginning of a piece I want to grow outwards from the center; or whenever I want a cast on to work first in one direction (from the bottom row of stitches), and then in the other (from the top row).

So I cast on, magically, with HiKoo Simpliworsted in 952 Peacock Tonal and begin to knit. You can imagine my delight when it worked.

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(You may have noticed that the swatch, when it would no longer lie flat on one circular needle, got moved to two circular needles. A very slick designer would have put it on two identical addi® Olive Wood circulars so it would look pretty for the photograph. I, on the other hand, often make design decisions based on what’s closest to the couch. And this is a column about the realities of creativity. So here it is on one olive needle and one needle (of the same size, at least) from my set of addi® Click Interchangeables. Sue me.)

The above is what I think of as a proof-of-concept swatch–concrete evidence that the basic idea has merit. Even though I messed up the placement of my increases now and again (until I broke down and added the stitch markers), and even though I got an oval instead of a rectangle, the bottom is handsome and lies down as required.

I’m pretty sure I could move towards a rectangle by diddling the increase points, but I’m starting to groove on the idea of a curvy bag in a square cage.

Bonus: I don’t have to do a darn thing to get the sides going–just continue to work around on the live stitches, without further increases.

When I had swatched enough to convince myself this would be a suitable foundation, I decided to nail down a strategy for the sides.

Short Cut

Just garter stripes, right? That’s what I said. Just garter stripes.

Since these theoretical garter stripes would continue in the round, I’d have to purl every other row. I don’t mind purling. The bottom of the bag was purled on every other round.

But I’ve sometimes worked a “circular” piece of garter stitch with short rows. Usually I do it because my purl stitches and knit stitches are slightly different sizes. In some yarns, especially those with little stretch, that leads to “rowing out”–clearly visible differences in gauge from round to round. If I’m never purling, I’m never rowing out.

Short rows aren’t complicated. A short row is just a row you cease to knit before you reach the end. Instead, you turn the work and head back in the other direction. That’s all. Where you turn, you may form a gap in the fabric–but that, too is easily dealt with. More on that in a minute.

So, okay. I thought about using short rows in the bag to avoid rowing out. I hadn’t done it in multiple colors before. Feeling a little timid, I joined a new color to the bottom. Before I knew it, I was a bored with the idea of stripes.

I mean, stripes. Come on.

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Even in all these different yarns and colors, stripes are just stripes.

What if I really pushed the short row idea, building up areas of each color before moving on to the next? Could I do something like this?

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Only one way to find out.

Short ‘n’ Curvy

I decided to try this process for each new section of color/yarn.

1. On the right side, join in the new color (here, it’s HiKoo Simpliworsted in 033 Red Hat Purple) and knit some number of stitches. My first thought was to make it a pretty random number, since this a random jumble of leftover yarns I’m working with.

fwf-48-sr-01

2. At the end of this first row, perform a wrap-and-turn to help prevent a gap at the turning point. A wrap and turn isn’t difficult. Just knit to the turning point, and slip the next (unworked) stitch from the left needle to the right needle as if to purl.

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…then bring the working yarn between the needle tips to the near side of the work…

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…then return the slipped stitch to the left needle….

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Turn the work. Carry on knitting. Since we’re making garter stitch, the working yarn will already be where you need it to be, on what is now the far side of the work. That’s it. (Note: In most stockinette stitch short row techniques, there’s a maneuver for for picking up a wrap the next time you encounter it. In garter stitch, we don’t need to do that. Yay.)

3. Make each row one stitch shorter than the previous row. Wrap and turn at the end of every row. After you’ve done this for a little while, you’ll have built up a sweet little blob of color.

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4. When you feel that the blob is just about the right size, or when you can’t get any shorter with your rows, finish a wrong side row and then knit part of the way across a right side row.

5. At this point, join in a new color for the next blob, on this same right side row. You’ll be back at Step 1.

Working in this fashion will gradually take you all the way around the live stitches at the edge of the bottom–and when you’re back to the beginning, just carry on with more short row blobs in different colors until the bag is as tall as it needs to be.

Such is my theory, anyhow. How did the swatch look?

After doing this with three different colors (and two different yarns) on my swatch…

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…I decided to take the piece off the needles and see what I was getting.

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I’m excited. I think the curvy top selvedge is something we might want to accentuate.

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With a little more swatching to refine the details, I feel confident we’ll be on the way to a fun to knit (and fun to look at) liner for the purse.

So much for keeping it simple.

See you in two weeks

Tools and Materials Appearing in This Issue

Makers’ Mercantile Leather Cage Purse available separately or as a kit
addi® Olive Wood Circular Needle available in fixed and interchangeable varieties
Schacht Cricket 15-inch Rigid Heddle Loom
HiKoo Simpliworsted (55% Merino Wool, 25% Acrylic, 17% Nylon. 140 yards per 100 gram hank)
HiKoo Rylie (50% Baby Alpaca, 25% Mulberry Silk, 25% Linen. 274 yards per 50 gram hank)
HiKoo Kenzie (50% New Zealand Merino Wool, 25% Nylon, 10% Angora, 10% Alpaca, 5% Silk Noils. 160 yards per 50 gram ball)
HiKoo Kenzington (60% New Zealand Merino, 25% Nylon, 10% Alpaca, 5% Silk Noils. 208 yards per 100 gram hank)
Schoppel-Wolle Leinen Los (70% Wool, 30% Linen. 328 yards per 100 gram ball)

About Franklin

Designer, teacher, author and illustrator Franklin Habit is the author of It Itches: A Stash of Knitting Cartoons (Interweave Press, 2008). His new book, I Dream of Yarn: A Knit and Crochet Coloring Book was brought out by Soho Publishing in May 2016 and is in its second printing.

He travels constantly to teach knitters at shops and guilds across the country and internationally; and has been a popular member of the faculties of such festivals as Vogue Knitting Live!, STITCHES Events, the Maryland Sheep and Wool Festival, Squam Arts Workshops, the Taos Wool Festival, Sock Summit, and the Madrona Fiber Arts Winter Retreat.

Franklin’s varied experience in the fiber world includes contributions of writing and design to Vogue KnittingYarn Market News, Interweave KnitsInterweave CrochetPieceWorkTwist Collective; and a regular columns and cartoons for Mason-Dixon Knitting, PLY Magazine, Lion Brand Yarns, and Skacel Collection/Makers’ Mercantile. Many of his independently published designs are available via Ravelry.com.

He is the longtime proprietor of The Panopticon, one of the most popular knitting blogs on the Internet (presently on hiatus).

Franklin lives in Chicago, Illinois, cohabiting shamelessly with 15,000 books, a Schacht spinning wheel, four looms, and a colony of yarn that multiplies whenever his back is turned.

Follow Franklin online via Twitter (@franklinhabit), Instagram (@franklin.habit), his Web site (franklinhabit.com) or his Facebook page.

Cro-Cork Bag Pattern

Vickie Howell is back again with an gorgeous and fun to make bag using CoBaSi plus; a wool-free, durable yarn, and fabric made with cork! Not only is cork a renewable resource, it’s also water and stain-resistant, making it an ideal base for this carry-all-tote! Gather your materials by visiting our online shop and make one or two of your very own!

Cro-Cork Bag
by Vickie Howell for Makers’ Mercantile

IMG_1021.JPGMATERIALS

FINISHED SIZE | 12”/33 cm Wide x 11 ½”/29 cm Tall — excluding handles

ABBREVIATIONS

ch = chain
dc = double crochet
hdc = half-double crochet
rnd(s) = round(s)
RS = right side(s)
sl st = slip stitch
st = stitch
WS = wrong side(s)

DIRECTIONS

Cork Bag Bottom:

  • Cut 13” x 14”/35.5 cm x 35.5 cm piece of cork fabric.
  • Fold piece in half with WS together with longer side of fabric at top, machine sew side seams using a 1/2”/1.25 cm seam allowance.
  • Create the “box” bottom, by centering side seams with the bottom center fold. Pinch it together and lay it on your work surface. Use a ruler and measure up 2”/5 cm from the point of the fabric and draw a line. Machine sew along line. Repeat for opposite side. Turn bag bottom RS out.

 Crochet Bag Top:

  • Using measuring tape and pen, mark dots every 1/4”/.5 cm down from top edge, and 1/4”/.5 cm around perimeter.
  • Using sharp tapestry needle, yarn, and using dots as a guide, create a Blanket Stitch (see video) border around top edge.
  • Crochet bag top as follows:

Join yarn at a loop at side edge created by Blanket stitch.

Rnd 1: Ch 2, hdc in next Blanket Stitch and every st around; join rnd with a sl st at the top of beginning ch. Turn.

Rnd 2: Ch 3, dc in next st and every st around; join rnd with a sl st at the top of beginning ch. Turn.

Rnd 3: Ch 2, hdc in next st and every st around; join rnd with a sl st at the top of beginning ch. Turn.

Repeat Rnds 2-3 until piece measures 6”/15 cm from cork fabric edge.

Repeat Rnd 3, once more.

Fasten off.

Make Strap Tabs:

Measure 2 1/2”/6.5 cm in from side edge, join yarn.

Rnds 1-3: Ch 2, 4 hdc. Turn.
Fasten off, leaving long tail for seaming.
Repeat process on opposite end of same side, then twice on opposite side of bag. (Four total tabs.)

Straps (Make 2):

  • Cut 4, 1 1/4”/3 cm x 27”/68.5 cm pieces of cork fabric.
  • With WS together, top stitch two pieces of cork together. Repeat with remaining 2 pieces.

 FINISHING 

  • Using yarn tail and needle, fold Strap Tab over O-ring and seam down.
  • Fold one end of one strap around O-ring, machine sew in place.
  • Repeat last two steps for remaining 3 Strap Tabs.

 Weave in ends.

 

Happy Making!