• Bairnswear581a

    I'm starting my first venture as a book-discussion leader today, in a section of D.E. Stevenson's Five Windows (1953) on the Stevenson Yahoo list.  I've really enjoyed reading this book — this is my second read, having galloped through it last year when I picked up a copy almost as soon as it was reprinted by Greyladies.  Nobody seems to know why this particular title of Stevenson's is so difficult to find — certainly in part because it was never issued in paperback, but why?  It's a charming and gentle story of a boy growing up, first in a little village in Scotland and then as a young man on his own in London — the "windows" of the title are five places in his life that are especially significant.

    Despite the fact that Five Windows is classic Stevenson, and I like it very much, I am nevertheless finding it rather difficult to come up with discussion questions, and so I'm dawdling a little, I confess, by looking for a suitable pattern for my virtual DES knitalong!  David's mother knits a pair of socks for the local shepherd when he goes off to war, so surely she would also knit something for her son, living on his own for the first time in a top-floor flat miles from home — perhaps this thick but simple cabled slipover? Perfect for those early-morning walks around Covent Garden market!

    This image is from The Vintage Knitting Lady, and a copy of the pattern can be had for a mere £1.50!  Yes, that is a very young Roger Moore, who did quite a lot of modeling early in his career.

    (Oh, ha-ha!  I see that my immediately-previous Knitalong with DES post was also for Five Windows, in my first read just a little over a year ago!  Glad to see I chose something completely different to "knit" this time ….)

  • 0265

    It's the tenth of the month, so here is my November progress update!  I've finished the Nurmilintu scarf, but some of the ends popped out so it's spot-blocking at the moment ….

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    The Turkoman carpet continues, slowly but surely.

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    I started the Regina Marie scarf-shawl with the forest-green Rustic Merino, but am having the dickens of a time with the lace.  The construction is very clever, using a short-row of one stitch (in effect) to "pick up stitches" for the center section as you work the border.  That is not my problem, which is apparently a combination of dark-colored wool, slightly splitty on occasion, and a sixteen-row repeat that is different every single row.  This is my third attempt — the others were frogged all the way back to the ball — and then I discovered that somehow I made the same mistake in the same row four times in succession!  Honestly, I hardly know whether to laugh or weep.  That should be a line of clean faggoting there, running alongside the eyelet M1s, but there is clearly something wrong — but for the life of me, I can't figure out what, or on which row (3? maybe 4?), and there was certainly no way to fix it on the needles.

    Yes, I used the past tense just there, as I ripped it all out soon after taking the photo, though I did manage to console myself afterwards by doing a pretty good job of adding sarcastic red arrows to the image, if I do say so myself.  I have since restarted the whole thing yet again, and still have no idea what I did wrong those four times, as I now have six and a half new repeats on the needle with a tidy line of faggoting just where it should be.

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    I am also in the middle — actually, about three-quarters along — of putting together a NAME Day armoire.  Apparently every year the National Association of Miniatures Enthusiasts has a day where all of the clubs work on the same project, sort of like Knit in Public Day — this year the project is this armoire.  It is certainly the most complex piece I've put together, by far!  It's a bit more modern-looking than anything I've got, but I think it will be rather handsome nevertheless.  I chose the cherry-wood version.  It's leaning backwards a little because it doesn't have the back feet on yet!

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    It's planting season for us now, so I went to a California-natives plant sale at our local arboretum and bought a few things for a shady spot.  It's not much to look at just yet, of course, but this one is a fragrant pitcher sage (Lepechinia fragrans), which I'm really eager to see in bloom, as it has very pretty trumpet-shaped flowers that hang in little clusters of delicate lavender.  Now for a bit of rain …

  • 0230

    An "unofficial" Booking Through Thursday question —

    Tell us about the person who gave you a book that became important in your life.

    My very first job was at the library where my mom worked, at a small Baptist seminary at the base of the foothills.  I was very young — I don't know how it was managed, but I guess being a small private school has its advantages! — and my job was simply to paste in pockets and bookplates, so neither onerous nor critical, requiring only an eye for straight lines and the ability to sit quietly for a few hours, both of which I was pretty good at.  I would find a cart of books to process when I arrived, already cataloged and any dust jackets removed, and I pasted a plate at the upper left of the inside cover — sometimes it had a note of thanks to a donor typed in — and a pocket, probably with a date-due slip as well.  I don't remember property-stamping, but presumably that was also part of it.  Sometimes if there was something especially valuable in the dust-jacket blurb, it would have been carefully cut out and included for me to paste inside the end-papers at the back.  I had a stool to sit on at one end of a longish narrow workroom, which was filled on two sides by windows looking out over a little valley and the foothills to the north (very rural-looking, though it was not), so that the afternoons were rarely dull, even if the books themselves were a bit bland and scholarly! 

    The library was in a curious sort of building that had the feeling that it might in an earlier life have been a house — I don't remember the outside at all, but once inside you were in a smallish room with a desk where the students could check out their books.  A pair of short hallways led from this room at right angles to each other — off of the right-hand one was my mom's office, where she did most of the secretarial work, as well as ordering and receiving all of the books.  (A favorite family story was that when very young my little sister was asked what her mommy did, and she said brightly, "My mommy works at the cemetery opening boxes!")  Across from this office was a small, narrow, and windowless room with the card catalog, and further down the hallway, through a pair of glass-paned French doors, was the reading room, with tables in the middle and bookshelves around the walls.  Along the north hallway was a series of small rooms which is where the rest of the book stacks were — I always thought this a very appealing way of housing a library, so I suppose it's no wonder that my house now has multiple bookcases in every room and even in the hallway!  I guess I didn't take advantage of the staff discount as much here as I did in later library jobs, but I remember very distinctly that the first book I ever bought with money I had earned myself was during this time, Lucile Morrison's The Lost Queen of Egypt — this was the beginning of my lifelong fascination with ancient Egypt, and I have to say that though Morrison's scholarship may be quite out-of-date now and her writing perhaps a little old-fashioned, it was wonderfully atmospheric and I still remember entire scenes quite vividly, even though I haven't read the book for years!  (My copy, as it happens, was missing the frontispiece, which I did not realize until some years later, but I hardly noticed the lack of it, contented perhaps with the more authentic-looking line drawings in the text!)

    Most of the books at the seminary library, of course, were not anything a child would be interested in, but I remember that my mom borrowed for me one day a copy of The Lion, the Witch, and the Wardrobe and of course I was hooked.  A great story — adventure, magic wardrobes, talking animals, and all with a dry humor that clearly appealed to my nascent Anglophilia.  (Am I an Anglophile because I am by nature "English" or am I more "English" because I have for so long been an Anglophile?  Clearly, the latter has had some bearing on the development of my interests and my sense of humor, but I feel certain that the former is the case.)  When my mom came home a week or so later with both Prince Caspian and A Horse and His Boy, she was astonished — since I was also horse-crazy — that I didn't immediately dive into "the horse one" first, but of course I knew somehow (how? I wonder now, as I'm sure none of them had dust-jackets — perhaps the clerk before me had pasted in a list carefully cut out from the blurb?). 

    That was another thing I have to be grateful for from that first job, the Narnia books, of course.  But what prompted this post was the mass-market copy of The Hobbit given to me by the seminary's librarian, bless her, Dr. Genevieve Kelly.  I hope she knew what she was starting, as I'm sure it would have pleased her.  The book is yellowing and a bit brittle now, but still has the dedication inside the front cover, and it is one of my treasures.  I don't remember much about Genevieve, I'm sorry to say — from what I hear, she was quite an interesting and eccentric person.  She had a beach house (I was sure it was Carpinteria, but my mom says Malibu), which was on a rather run-down and precarious stretch of beach, built out over the rocks so that you went in the front door at street level but once out on the balcony the waves at high tide were crashing underneath your feet.  The house had begun to settle in a rather alarming direction — towards the water — and a great crack, perhaps two or three feet wide, had opened all along the front of the house, which necessitated a large plank laid across what Genevieve called "The Abyss" to the front door, and I remember (although my parents forbade us to go near it) thinking it a charming bit of sang-froid!  She had a deep interest in music, and somewhere I have a madrigal she composed, in hand-written score, and my mom tells me that she used to practice her German by reading translated Zane Grey novels.  I do remember that she had very frizzy hair! funny, what sticks in your mind.  She died quite unexpectedly of cancer in 1975, in her late forties.

    Amazingly, I just didn't get The Hobbit at first — I couldn't even get past the first few pages and was nodding off.  I'm embarrassed to say this now, as it has pretty much everything I love — musical prose, cozy rooms and good food, maps and a bit of magic, brightly-colored waistcoats and gentle English humor — and I am glad that I had another go at it not long after, for of course I fell in love with the Shire and Tolkien's wonderful stories, and can hardly imagine my life without them now. 

    “If more of us valued food and cheer and song above hoarded gold, it would be a merrier world.”

    Thank you, Genevieve.

  • 0391

    This is the second post of photos from our visit to the gardens at Sissinghurst in Kent, this past July. (The first post is here.)  It was a wonderful afternoon, and I was utterly charmed by the place, as you can probably tell by the fact that I couldn't leave out any more photos!

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    "But you, oh gardener, poet that you be / Though unaware, now use your seeds like words / And make them lilt with color nicely flung …"

    from "Winter" by V. Sackville-West

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  • 0310

    I realized today that I haven't yet posted photos from our visit to Sissinghurt Garden in Kent this past summer.  It was a lovely afternoon, and I recommend the place to anyone with an interest in gardening or just with an eye for beauty and little details, from color combinations like pinkish-yellowish poppies with purple verbena, to the different leaf shapes and textures such as ferny matte leaves with glossy green ones with delicate pale lavender flowers drooping gracefully around them both.  I could have wandered happily for hours! and I certainly had enough photos that I couldn't bear to leave out any more, and there is enough for two posts …

    (The second post is here.)

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    "Fortunate gardener, who may preoccupy himself solely with beauty in these difficult and ugly days! He is one of the few people left in this distressful world to carry on the tradition of elegance and charm."

    — V. Sackville-West (source unknown)

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  • 0218

    These have been sitting around for a while, ready to post about, but one thing and another — you know.  To recap, these are Nancy Bush's pattern for two-ended or tvåändstickning mittens, based on the traditional style of mittens from Mora parish in the Dalarna area of Sweden — these are in Bush's "house yarn," a Z-ply that comes in natural and grey shades (and by the way has a lovely sheepy smell!).  For the contrast color, I dyed a short length with one packet of black cherry Kool-Aid.

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    The learning curve was a bit steep for me, taking what seemed like ages to knit the first mitten, but the second was done in about a week, even after a long hiatus due to the summer heat and my not even wanting to think about wool, much less knit!

    I was very pleased to find that the pattern fits my hands without any adjustment whatsoever, as usually "one size" is too small for me.  These mittens might even have a bit of extra room for shrinkage with wear — which I fully expect them to do, with this kind of wool.

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    I had a 24g ball of wool left at the end!

    I have to say, I really enjoy this technique, and of course its historical connections, but that twisting is a pain.  I do not understand why, when this Z-ply wool is touted as being the best for two-end knitting (it "allows for the threads to twist and not 'corkscrew' around each other"), it was worming and corkscrewing constantly for me.  I suppose I can't really complain that it took me less than one week to knit a mitten in a complex technique from start to finish, but goodness, I have a great respect now for those Dalarna knitters who made sleeves and whole garments in two-end knitting, especially at a much finer gauge!

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    Previously, I had found the Knit Buddies tutorial most helpful for the three-color cast-on, but for some reason when it came to cast on for the first of these mittens, I just couldn't seem to make it work, and so I used Anna H's video instead, in which you stand the single needle vertically (wedged between your knees, perhaps) and use both hands to wrap the wools around, I mean without using the needle tip to pick up strands as in most cast-on methods — but this appeared to produce the same result.  After knitting a bit, though, it was clear that something was different as it didn't lie as flat as my sampler and wristwarmers had done.  I suspect now that my tension was much looser with the upright-needle method, so that although the wool strands are lying in the same manner as the horizontal-needle method, because there is simply more wool involved in the first one, it flares.  Unfortunately, this didn't occur to me until after I was well into the second mitten and wondering why the second one was lying flatter!  Oh well.

    The thumb is a new-to-me construction, and very comfortable —

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    0211

    I puzzled for a long time over the cord at the wrist — there is no mention of a cord in Nancy Bush's pattern, and indeed the ends are all woven in on her pair, although the photo on Ravelry shows a member-submitted pair with the ends in a simple braid.  But the historical examples at DigitaltMuseum, for example, almost all have the cord, so of course I wanted to do it that way — and it just looks cool!  But the two colors clearly spiral, like a twisted cord, and for the life of me I couldn't figure out how to twist the ends into a cord that looked like those historical mittens.  I finally just decided to give up and do a four-strand braid and, Googling this to jog my memory about which way to arrange the strands, a number of the hits that came up with a search for "four strand braid" were for "four strand round braid" — and yes, I now suspect that this might be what the historical mittens used, as my results, after only a few minutes' investigation and experimentation, produced a spiral-effect round cord.

    I ended up using the instructions from T.J. Potter, though I must say the video from Tying It All Together was intriguing — I just couldn't get my brain to quite follow that one when I was holding the colors in a different order.  (Amusingly, since the ends on the second mitten were hanging differently, I started the second one with the left-to-right movement first, instead of the other way round, and the result spirals in a different direction from the right-to-left-first braid!).  The trickiest part was remembering to twist the strands under, as I'm so used to the usual three-strand braid (on my hair, for example) and putting the strands over.

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    All in all, I'm delighted with the process and the results, and can hardly wait for some cold weather!

    (The newspaper is a recent issue of Nordstjernan, "The Swedish Newspaper in America".)

    Histknit2017 button 2

    Year or Period: 19th century
    Materials: 1 skein Mora Z-ply wool by Wooly West in natural white, with a short length dyed red with Kool-Aid by me; 2.5mm needles
    Hours to complete: I misplaced my notes, so I don't know now how long the first mitten took, but the second was about a week of not-particularly-obsessive knitting
    How historically accurate is it? Being a Nancy Bush pattern, I assume that that is quite accurate! the Kool-Aid not so much …
    Sources/Documentation: This particular pattern is available in the January/February 2007 issue of "Piecework" and again in the Winter 2010 "Knitting Traditions" magazine.  (Note that the pattern in "Piecework" and on Ravelry is called "Northland Mittens", but in "Knitting Traditions" it is simply titled "Mittens with the Two-End Knitting Technique".)

  • 9915

    Last week at Tuesday Morning I was poking through the eyelash and ladder yarns in the knitting bins, and David, standing idly nearby, put his hand in and said, "What about this?"  It was a skein of Queensland Collection's Rustic Merino Sport in a deep foresty/olive-y green.  "Oh, yes," I said, and we managed to find four skeins, and then another in a very handsome plum.  Half off of the sticker price — my word.  I'd not heard of this yarn before, but it feels very good in my hands, light but smooth and strong, something that doesn't shout but sort of waits to be noticed, a Celia Johnson of wool.  I didn't really have any particular projects in mind — perhaps a scarf, or some mitts? possibly both?  So I bought two of each color.

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    I thought the green would do very well for the Henry scarf from Knitty, but upon swatching I found that the color variations in the wool, which look fairly subtle in the skein, made the herringbone stitch just sort of disappear, and so I have filed "Henry" away for another time (and a more solid color of wool) and decided on Nurmilintu for the plum and Regina Marie for the green.

    (This effect fascinates me.  It is mathematically a triangle, with the left side at a 45-degree angle — increasing every other row — and the right at a 60-degree one — increasing every row, but the bias makes the edges curve beautifully in this wave-like manner — "when math and fabric collide!")

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  • 9911

    (Not the tenth one, on the 10th …!)

    I finished the knitting on the second Mora mitten late last night — now only have the weavings-in and they're done!

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    This is less successful — my nth attempt at a sontag, which every single time so far has either been far too big or far too small, curled mercilessly, shrivelled ditto (twin rib stitch), or just generally disappointed.  I keep varying the stitch pattern or the sizing, without yet finding the right balance.  This one is too small — again.

    9802

    These, however, turned out exactly as I'd planned.  I have been continually dismayed at the ease with which the girls manage to dent and scratch the metal water-bottles they take to school daily for lunch and various after-school activities.  Most of our older ones don't stand up straight any more, from being dropped or knocked over, etc. etc. etc.  When I found these new ones at Costco recently — the mouth is large enough to easily get ice cubes or a bottle-brush into, and the lid has no moving or difficult-to-clean parts! — I decided that I should take some protective measures, and so of course being me I thought, "well, what about a crochet sling-type cover?"  These are a mash-up of two free patterns, Kat McCab's "Water Bottle Cozy" and Kelly Spenhoff's holder with a strap — I used the stitch and the shaping of the former, and the latter as inspiration for the carrying loop.  So far, so good!

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    I am also slowly doing some handy-man work on the dollhouse — regluing loose pieces of trim, mostly.  Am dreading sanding that dark-green paint from the upstairs room, which I am sure is going to be a challenge to cover up, but it is just not attractive — I should just get started, I'm sure it will give me great satisfaction once it's done!

    9823

    Postcrossing an post

    A few weeks ago I joined Postcrossing, an international postcard exchange group.  Ireland is the latest country to issue a postage stamp in honor of the group.  I used to collect stamps, a very long time ago, found it interesting at the time but only from a distance once I stopped, but it is appealing to think of the occasional first-day cover like this one, to keep in a box or perhaps an album now.  I've just sent my second postcard, so am looking forward to my first arrival!

    (I joined because I was feeling rather wistful about not really having anyone to exchange letters with any more, my oldest friend being hors de combat, as it were, and limited to e-mail as a result.  It's just not the same.  What a loss to the younger generation.)

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    I was delighted to see the Google Doodle for today — it's Nansen's birthday.

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    As for my current petitpoint project, the Turkoman is slowly coming into shape.  I like the design a lot, mind, and the "faded" colors I decided on — but it's tedious, I must say.  I've watched rather a lot of television, filling in all of that red background.

    Goodness, I think I forgot to say that I started a separate blog over at Blogger (because it's free, to be honest) for the photos from our canal-boat journey.  We enjoyed it so much that David and I certainly plan to do another trip as soon as possible (Julia says wearily, "just not so many locks") — maybe another stretch, or the rest! of the Stratford Ring, maybe Oxford …?  I decided on making a separate blog so that I could play around with subject labels as well as focus exclusively on narrow-boating — plus of course it's more of a family thing than just my own natterings here chez Bluestocking.

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  • 9737

    I have begun dressing the mahogany Arts & Crafts bed I finished a few months ago (from Jane Harrop’s Edwardian Era Miniatures in 1:12 Scale).  The mattress is following the tutorial at Tiny Handmade, which I adapted only slightly by using cotton balls instead of foam, with a layer of thin quilt batting as a sort of pocket to hold the cotton. I cut the batting to size without seam allowances, then whipped the edges together so that it was all one unit (stuffed) before wrestling it into the “ticking”, which is an old work shirt of David’s.

    (Why cotton balls?  Because I had a coupon for a huge bag of store-brand cotton balls that ended up being about 75% off, and we don’t use them much in the bathroom, so I figured I could stuff dollhouse furniture with them.  This worked quite well — I did fluff them a bit so that they lay more smoothly inside the batting pocket — and they are not nearly as lumpy as one might think they’d be.)

    The tutorial is quite simple but effective, though I will say it is a bit of a challenge to get all of the seams straight, even if you use striped fabric! and also to get the tufting spacing to be the same on both sides.  This is in fact my second attempt, as the first one I tried to tweak a little too much and it came out too small.  I also think that next time I will try off-setting the rows of tufting.  But I’m pleased with how very comfortable the mattress looks!

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    The lace skirt is made of 17 repeats of the Clover Leaf Lace edging in Lace from the Attic, with a crochet cast-on and then a suspended bind-off taking the place of the very last row, in an attempt to “match” the two ends as much as possible.  The cotton is DMC 80 tatting cotton, which to my amazement I found at Michael’s –I didn’t think they would ever carry anything so esoteric … hurrah!  It’s still a bit large in scale, but I’m not ready for the micro-knitting yet.  I stitched the two pieces of edging to a hand-hemmed piece of muslin.  I had hoped to have a piece of lace along the foot of the bed as well, but the construction of the footboard doesn’t allow that — it probably could, though, if one thinks ahead far enough while putting it together.

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    This is the Hepplewhite serpentine table kit from House of Miniatures.  Mine is not as much of a success as it deserves, I’m afraid — since it is a lovely little table — but my kit-building techniques are still rather amateurish.  Apparently it’s a classic newbie mistake to sand too much — you don’t realize that at this scale a little sanding goes a long way — and I took off too much of the delicate shaping of the legs.  I decided to convert this into a design element, and roughed up the wood even more, to look like an older piece of furniture.

    I also am not impressed with my polyurethane-finishing.  I really like the linseed oil/beeswax finish on the bed, so I think I might stick to that or maybe Danish oil in future — more work in the applying thereof, but the results, at least for me, seem to be much better.

    Still — this was a happy coincidence! —

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    I will keep an eye out for a better sewing-machine, but this will do very well in the meantime.

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    And this is the tile-topped table kit from Omniarts of Colorado, which I came across quite accidentally on Etsy a few months ago.  This particular kit is probably from the 1980s. 

    I painted it with Martha Stewart’s satin-finish craft paint in “Wedding Cake,” and made the tiles to my “old favorite” tutorial from Wasting Gold Paper.  The design is of course a Duncan Grant drawing, though I don’t know where it is from — it’s not quite the “Queen Mary” design but very like, certainly.  I did trim it just a smidge at one side, to center the roundel.

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    I was really touched to read the tribute on the Omniarts website to the lady who started the company, so I made sure that the pencilled assembly number, which presumably she had written, was visible on the underside, the way so many full-sized pieces of furniture have —

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    (I did add in the extra bracing underneath, as the table seemed alarmingly delicate without! but I should trust that Aleene’s tacky glue more, it’s great.)

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    I am extremely pleased with the way this turned out — some of my craftsmanship is a bit rough, but the whole thing looks pretty much exactly the way I’d pictured it in my imagination!

    And here is this month’s in-progress photo of the Turkoman petitpoint carpet — which I must say is very handsome but rather tedious.  I do like the general effect though, so I will just keep plodding along! —

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  • 9767

    These have been finished for a while, but I'm only just getting around to photographing them — the "It's Tea Time" from Around the World in Knitted Socks by Stephanie van der Linden.  This was my travel knitting, you may remember, though we were so thoroughly — albeit delightfully — busy that I did most of the knitting after we got back home.

    They are worked in Shepherd Sock in "Whisper", a pretty sort of pale pink, on Kolláge 2mm (US 0) square dpns.  The pattern is a bit more texture than I usually go for (!), but I like them a lot — memorizable but not difficult, so certainly a pleasant combination.

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    The heel-turning instructions refer the knitter to the glossary for short-row instructions, but I don't know why, as the heel requires only the most basic "turn work around" maneuver — the "slipped yarn-over" instructions are for a wrapping method, and that abbreviation (SLYO) appears in other patterns in the book for truly-short-row heels (i.e. not flap heels like this one), so I'm guessing that the "see Glossary" reference here is simply a mistake.  It's not a serious one, by any means, except that for a while I was trying to cram the SLYO into a heel-turning that would not accommodate it.  (Here is the errata list, by the way.)

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    One of the things that really appealed to me was the exceptionally handsome variation on the heel — done with stitches, not structure, so of course it fits like the flap heel but looks different.

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    As for the Kolláge Square dpns, I'm not sure that they made much of a difference for me.  I found the needles at Tuesday Morning for almost half the sticker price — dithered, went back a few days later and they were still there, so I bought them — you can always use another set of sock needles, right?!  I don't usually have a problem with ergonomics, thankfully, so that isn't an issue, and my tension — presumably due to my being tense all of the time — is usually fairly even, so I'm not sure I really see a benefit there either.  The third selling-point is that they don't slip out of one's work as easily as round needles, but that for me is one of the benefits of wood, that the slight texture of the wood makes them a little "grabbier" — I did have the Kolláges slip out on me occasionally, but that was at the usual spots where I had one or two stitches left on a needle and looked away for a moment, to pick up my cup of tea or some such, and the needle fell.  But they do on the whole feel fairly secure, so there is that.  For me, I'd say that on the whole the jury is still out on this one.  I do, though, really appreciate the very clear size markings! 

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    And although it has no bearing on the needles themselves, I got them for a good bargain, so they are perfectly satisfactory to me in that respect!

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