Wrangling some garment WIPs

I took a look at my Contiguous Blue cardi:

It’s the sister of my Deco Cardi which are both made from one kilo total of that lovely Donegal Yarns Irish Heather, straight from Ireland.

This WIP is more round and friendly than Deco Cardi. Deco Cardi is more… deco.

It’s too wide at the back:

It’s too small at the front. It’s meant to close flush but it’s not meant to stretch like that over the bust.

I frogged it up to the sleeves (y’all still don’t like the word arm pit, do you?) and will reknit, decreasing at the back for my sway back and inserting bust darts in the front. Aran weight, needle 4,5 mm, it should go fast. I already started the cuff of second sleeve last evening, winging a copy of the detail in the first sleeve:

It’s a 3 under 2 cable, then purling 2 of those 3 and slip the 3rd. Then it’s 2 over 3 cable and knit that first stitch together with the one you just slipped. Not just knit it: make a bobble. k, yo, k, yo, k. And give it long loops because you’re not k5tog for at least 2 rows.

Then the rest of the cable: p2, k2 and p rest of sleeve round.
Make two rounds (all p, except for the two 2k from the leaf edge or frame)
Next round: k5tog from the bubble. All other stitches inside the leaf are purl stitches.
Now closing the leaf by decreasing the k-edge/frame over the p-stitches inside the frame. When the k-frame meets it’s just a double decrease in k.

Now knitting on some more because the existing sleeve is too short. Have to decide on an edge too. Either a rolled hem or garter stitch.

I frogged Yuuret, a WIP from 2013:

A wonderful pattern, Yuuret (Roots) by Kessa Tay Anlin:

It uses the cable for shaping and it would serve my sway back so well!

I’ve spend months on knitting and reknitting it, trying to get it to work on my body. But the way the cable determines the shaping and where you have to put the decreases and at which pace if you change the pattern is just too difficult. And all that seed stitch!

My style has also deviated from the clearly fairy tale vibe this pattern has. Hee hee, I’ve gone into stealth fairy tale mode ūüėČ

Yuuret was frogged, the yarn was soaked and I started arching cables jacket by Mercedes Tarasovich with the yarn because why finish a WIP when you can start another?

Fun pattern. You start with the belt, then work up. I like the shaping at the back. I thought: “Right! A nice pattern and I will just follow it to the lettre. No thinking needed, just mindfull mindless knitting.”

So I knitted the belt. Started three times. First according to pattern. Then decided it would be too small so started again with extra stitches at the sides. Then realized this pattern looks best with stitches picked up at the end of the cable, not the end of the belt, and restarted with the fewer stitches, according to pattern.

Then I studied some of the project pages and saw that the pattern probably benefits from¬†a bit of tweaking when you’re a small person with big busts. Bust dart probably. But keep the edge of the front panel fitting, don’t make it too loose.

Giving some attention to how the belt overlaps and where to pick up stitches, to avoid gaping. At least change the lower part, the pendulum…penta…what’s the word.. the little “skirt” under the belt. PEPLUM! It tends to draw in and this looks weird on people like me who have a tummy and/or like to breathe with their belly.
Besides, the yarn is a hard blue. (Dyed it myself)(years ago)(my taste changed)(not sure I’d wear a hard blue anything much)

Anyway. It’s now parked in the Raku yarn bowl in the middle of the sitting room. By no means stuffed in the closet. Yet.

I then took a look at Silver Buttercup or what was left of it after last week’s frogging session:

I’ve got to be honest with myself here: it stretches over the bust (not super comfortable to wear) and the way the lace bits stretches… that’s just painful to a knitter’s eye.

Here it is in non-pained condition:

I frogged it up to the start of the waves. “If I just put in a couple of more waves, making sure the “dip” is still at centre front, then it will be fineeeee.”

No it won’t. I won’t have enough yarn. So I’m going to frog it all and start over, in another year or so. See if I can bring in some colour stripes, to save the grey yarn. Speaking of grey: my hair is turning rapidly. I am loosing contrast in my face. Wearing a grey top like this will wash me out more.

So that’s where the colour will go: at the neckline and probably the whole of that lacey bit too. If I find a suitable yarn that will play with this silk cotton blend by Rico.

Nijntje Sweater!

Looks good. Separated for sleeves. Knit on for at least another hand’s width. Then start designing those stranded flowers.

Good ūüôā mindless mindfull knitting.

Crazy Stripes sweater was fixed by sewing.
I determined the excess flap and pinned it with clothes pins that happened to be stuck on our bathroom mirror (?? my husband is an odd one)(well, isn’t everybody’s spouse?)

I put the sweater on my sewing table, centre front on centre back. Can you see what’s weird here?

Front excess is one finger wide, back a full three fingers wide.

That’s what you get when you put the mammas in mammal. The front of my garments need more room than the backs. That’s what bust darts do. That’s why the back of all my sewing patterns have less width than the front. Not only at the bust but also below the waist because I have a tummy and a sway back.

For this knitting garment the side seam is not at the exact side of the garment. But it is at the exact side of me. Here CF is not at CB but the excess flap now has as much width at the front as it has at the back:

Sewed it shut, with a wide straight stitch, just to determine fit.¬†Here worn inside out because that’s how you determine fit when sewing darts:

Looks good to me. I will knit on, towards the hem. I will deal with how to finish that dart properly later.

I made decisions on two other garments but I’m done writing for now. I’ll let you know about those two later. The funny thing is I could not make decisions on all my WIPs (there are five more!) because I’m now fired up to knit on the garments I mention here. I don’t want any more to deal with, I just want to knit these!

Contiguous Blue, Nijntje sweater, Crazy Stripes and Little Flower Cardigan (more on that one a next time).

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Spring Socks!

This is the colour I chose for my next sock project:

It’s the onion dyed Wolop sock yarn witha contrasting colour from Wolbeest Advent Calendar.

The pattern is NOT Sockmadness! It’s a lovely Dutch mystery design and I saw a sneak peak of the flowery cuff which I love so much plus the knitting along that I cast on.

Pattern Lente Sokken by Dutch Mama

My cuff:

I put beads on. It’s not on the original pattern. This took about 1,5 hours.

The second one went much faster:

So pretty!

I think this colour will be a good addition to my sock collection:

I love wearing the lighter colours in Spring and Summer. The whites, light blues, light greys, lilacs, greenish yellow and pink. These new socks are a light green and fit right in.

sparkly snow stitch markers

I just worked until I ran out of beads and thread. Now I have 38 markers and won’t need any more of these till I’m 120 years of age!

Some unused earrings were sacrificed for these, hee hee. So smart. Moonstone, vintage Chech glass.

These are simple, beginner stitchmarkers. I was taught how to make them by pattern designer and beading artist Marleen from Dutch Knitting Design. She works in a professional league when it comes to markers:




all these pictures are by DutchKnittingDesign

Weird Wool Wednesday: fancy shoes

The other day I decided to wear something more fancy than my sneakers and I dug up a pair of nice shoes from the closet:

All leather, rubber sole, comfortable heel. A bit of a Harry Potter feel.

Only problem is: these shoes are my size.

Hence no room for handknit socks.

I had to wear commercial, thin socks.

Cold feet all day.

But look fancy:

 

Planned Pooling

Back in the magic year of 2011 I crocheted this bag:

(I was still into rainbows back then. I needed to celebrate life with bold colours.)


It’s made from a skein that is dyed in the round. Only by working this yarn in the round will you get pooling. By crocheting a few stitches more or less each round I got the pooling to wave like this. I sewed a fabric covered beer coaster on the bottom.

The Tortie Cat Yarn from Het Wolbeest is dyed differently, not in the round but mirror like:

If this yarn is worked in the round colours can be stacked, in different ways. They can also be made into an argyle pattern. And, thirdly, it can be worked to and fro and then the colours can be stacked too and end up pretty much as show in the skein above. (I like the one with the black in the middle).

I’ll be doing the latter option, the to and fro, probably with black in the middle. The result will be a rectangular shape.

I can chose the technique in which to work to and fro, it can be knitting, crocheting or weaving.

I have measured the skein. It’s 140 cm in total and when folded double like shown above it’s 70 cm from side to side. I am going to try to make each row use 70 cm of yarn. I have no idea which will be the correct number of stitches, I’ll have to find out. I do know that my gauge in garter stitch is 29 stitches per 10 cm (= 4″) when worked on needles 2 mm.

My aim is a hat made of a rectangle folded double. (Hopefully this will give me some cat ears!)

I found this awesome pattern, free and with good explanations about pooling and how to get the right number of stitches: The shallow end of the pool by Rowan Martindale
 pics by Jimiknits

I have rejoined the Ravelrygroup Pooled Knits  I was a member in 2011 too. Looking at their projects is so inspiring.

So a hat… in what technique and what stitch?

My weaving loom is occupied. And I don’t want to spend time mounting the other loom nor working with a non-elastic fabric for a hat. So no weaving this time and no crochet either. Knitting it is!

Don’t feel like garter stitch, even though it knits easily away… Or do I? Because the colours stack I don’t have to get annoyed by the purl bumps in different colours.

Hmm, I was already thinking towards an elegant stitch pattern, such as this one:
 pic by Leikna

but as I write this I realize that a stitch pattern like this requires a certain amount of attention and may yield a hat that’s not as warm as garter stitch would be. I’ll have to think about it some more.

Now I want to show you this amazing pooling hat:
 pics by spacedebra
It’s Exploding Tardis by fellow raveler Spacedebra and she used¬†Perfectly Pooled Hat¬†by DrawFour Designs which is a free pattern, especially written for this colour way.

The pattern doesn’t go into pooling and how to get this with other yarns, it just assumes you get a great gauge and magic happens automatically. Judging by the projects they’re not wrong.

Oh! A fourth awesome thing you can do with pooling colours is change your stitch according to colour. Look at this crochet mastery:
 pic by Vashtirama
It’s¬†vashtirama’s Florida Peaches Handbag¬†and she teaches¬†Color Stacking classes in Florida.

Here’s an example of the argyle pattern that can come into existence with pooling knits:

Free Knitty pattern from 2009 on Ravelry

Well, those are the four pooling or colour stacking techniques I know:

  1. stacked in the round;
  2. stacked to and fro;
  3. stacked to and fro resulting in argyle and
  4. doing something different when you encounter a certain colour repeat.

I’ll be doing stacked to and fro, no argyle. For a hat. By now I’ve decided it’s going to be an elegant stitch. And that I probably line the hat so it will be extra warm.

Loving Vincent.

The Van Gogh sockyarn came, handdyed by Wolop:

And today I went to the exhibition that accompanies the movie Loving Vincent. In the exhibition the original paintings that were used in the movie can be seen.

It was a wonderful experience, seeing in paint how the contemporary artists communicated with the original artist, Van Gogh, about and through style, colours and composition.
Loving Vincent tentoonstelling exhibition Noord Brabants Museum Van Gogh

My handmade dress was appropriately coloured:
UntitledUntitled

Lovely thick layers where used. The 3D of the paintings is a thing in Van Gogh’s art. Happy to see it in the movie-paintings too:
Loving Vincent tentoonstelling exhibition Noord Brabants Museum Van GoghLoving Vincent tentoonstelling exhibition Noord Brabants Museum Van Gogh

I particularly liked this next modern painting, because of the colours:
Loving Vincent tentoonstelling exhibition Noord Brabants Museum Van Gogh

The big planes of yellow and blue (choosing thàt particular yellow against thàt particular blue), the vertical greenblueish stroke at her upperlip, the horizontal colours on the right side (purple, yellow, greens).

This next one I liked very much too, again because of the chosen colours. Thàt red with thàt green. Also the slight pink/rose in the left side of her dress, echoing with the red of the carpet on the right. A red carpet that has dashes of green in it:
Loving Vincent tentoonstelling exhibition Noord Brabants Museum Van Gogh
I also love the composition. This one is about colour blocks.

At the end they showed the new works next to the original works that inspired them:
Loving Vincent tentoonstelling exhibition Noord Brabants Museum Van Gogh
The original on the right is far less about the composition and more about the character of the dress and the person(ality) of the woman. Seen next to each other the 21st century art is a nice piece of art. The 19th century piece however is magnificent art, in my opinion.

The yellow on the wall is less contrary (and therefor less at ease) to the colours of the dress. The carpet seems more brown, this is not red agains green talking, this is warm against cool but in such slight handed ways.

And who cares about the composition of horizontals and verticals? Is that our De Stijl architectural experiences that are all grained into us? Van Gogh knew the inspirations for it as he had studied Japanese prints. He knew about orthogonality. Yet he never chose to make it a thing in his paintings.

In this painting we have to talk about her silhouet, against that of the piano, in that negative space between its side and her front. The paino with it’s broken top line. And that whimsical chair leg. Outrageous.

I ended up spending a long time at the wall with the new works next to their inspirations. It’s where my opinion grew strong: Van Gogh is much about free hand while the movie is not.
Loving Vincent tentoonstelling exhibition Noord Brabants Museum Van Gogh
I think the modern artists got hindered -or rather I suppose it was a conscious decision- by their skill in proportions of the human figure. Van Gogh abandoned those, and in the process ended up saying specific things about the individual he was painting.
The modern artists painted real people but they are interchangable for other, real people.

For example, I know at least 3 actors who can play the man on the left:
Loving Vincent tentoonstelling exhibition Noord Brabants Museum Van Gogh

Loving Vincent tentoonstelling exhibition Noord Brabants Museum Van Gogh
The modern artists painted real people and real boats. There’s a real brown boat on the foreground of the left painting. In the right one there’s something brown that interacts with the water… it may carry a person but it also may dissolve in the movements of the river. Enter at own risk.

What do you think: on the left perhaps someone who is too habitually skilled in perspective?
Loving Vincent tentoonstelling exhibition Noord Brabants Museum Van Gogh
While on the right someone trying to convey something in dabs of colour? Using strong lines to talk about masses and texture (an interesting choice because usually texture is shown with small scale things like shading, grading, stippling).

Look at the roof in the bottom paintings, Van Gogh’s roof looks heavy and wet. The repair man will need to mold it, like clay, it seems. Put against that ridiculous light coloured sky above it! Things are happening in that sky, I wouldn’t be surprised it some birds have just tumbled out of sight.
The modern painted roof is made of reet. Sunkissed reet. If the wind is strong ome reet plumes may fly away today. Luckily the sky does not suggest wind.

Aye! Lots of opinions of me, indeed. But I am so strongly interested in colour interactions and how artists use them that this is what bubbles up in me. As a viewer of paintings these topics start a conversation in my head whenever I spend time with a piece of art.

So let me say here that my opinions are not criticism. They are things I want to talk about with the makers of the movie and the paintings, because they got to talk to Van Gogh, trough intense study of his work.

They had a marvelous time. Look how this beard is all blue! Not a speck of white, not even in the eyes:
Loving Vincent tentoonstelling exhibition Noord Brabants Museum Van Gogh

I do have some criticism but I doubt it’s interesting to read. For example,I’d probably should see the film to be more friendly about the next pairing:
Loving Vincent tentoonstelling exhibition Noord Brabants Museum Van Gogh
As shown here Van Gogh talks about the sky and the fields and the movements. The film still does not, it talks about the man in the cart, even more so if he gets smaller and smaller and rides to the horizon. I would have put it in reverse: start with the clouds and the fields, end up with the man (but not as big as this).
Perhaps they did in the film.

As I have not seen the movie I luckily did not see any of these paintings move. That is a whole new kettle of fish to discuss. Van Gogh very much tried to talk about movement in a non-moving medium.

If you are going to make a movie, how to decide how the stills will move?Why make people move naturally when he didn’t paint them naturally? But an unnatural movement would probably make the viewing of the movie difficult for the public. We are used to natural movement.

What sky movement would Van Gogh want to show? What raven’s wing clap? Not the ones of natural raven, right?
A very interesting question.

The differences between Van Gogh and Loving Vincent irk me. Yet I could not have stand a clear copy of the originals works either. The makers of the movie got to insert their own opinion, vision, signature into the movie and that’s a good thing.
Loving Vincent tentoonstelling exhibition Noord Brabants Museum Van Gogh
I would have done it differently. Every artist would probably have. I’d have LOVED to dive into these works for so long and take them as a departure to tell the passionate story of the movie, using the medium of oil paintings. A very nice project and a very nice exhibition.

 

x-mas colours and other colours

Wolop’s plant dyed Advent fingering yarns all together:

Wolbeest semi-solid Advent fingering yarns in my tree:

This picture gives you a better idea of the first half of the box:
 pic by DorineZ
The second half had purples and pinks and reds and greys and silver.

I didn’t finish my green Week Before X-mas hat:

It’s getting too big (although you never know for sure with a tube, tubes always end up tighter). And the fabric is kind of stiff. And now I’ve discovered a hole. All in all it’s just not a pleasurable WIP for me and it made me procrastinate a lot.

By knitting this:

A loose fit sweater from Tour de Fleece sparkly bouclé yarn I made in 2014, just one day after I hosted a nice TdF finish party when I made a purple bouclé, what a nice TdF that was! with my first Nunoco batt too with an amazingly thoughtfull swap. Combined with the undyed Irish aran yarn that I love so much. (Donegal Yarns Irish Heather)

I’m winging the pattern. Just provisional cast on for the yoke and increase 8 stitches every other row. When I ran out of green yarn I attached the white and knitted on until I thought it was long enough.

Then I divided for the sleeves and body. The body is finished now, I added some waist decreases and increases. I fitted it yesterday and it’s not so boxy… apparently I’m afraid to run out of white yarn and have made it rather snug below the bust. Oh well, true to me I’ll be.

It’s sparkly green again…

Sparkly green is such a x-mas colour! It’s the best companion for red which fits this time of year so well. It signifies living mainly indoors, shorter days, making things warm inside. It’s why I am wearing my red dress today:

Deer & Doe handmade dress from 2 years ago.
 

Red is very nice for today but I already feel something else stirring: the colours of Frau Holle time:

Frau Holle Time is the time between x-mas and half of January. (February perhaps even).

It’s a time of introvertness but you can already feel things are about to be shaken up. Women do their spinning. The spinning of yarn and the spinning of the threads of time and life. We are preparing for a new year, a new life. Still cradling the old life, the old year, but already things are brightening up and new life is stirring beneath our feet and we are no longer bound to the ground nor to the time of clocks. We are flying through the skies, overseeing land and life.

Oops, I get carried away each year like this… sorry. Here’s a post from 2013 and here from last year if you want to see more colours for this time of year and Holle. I may redo my x-mas tree after x-mas… there’s still a big box of white and silvery ornaments in a corner of the room.

This is the Frau Holle statue at the Frau Holle lake near the mountains in Germany:

Frau Holle is a goddess from before vikings or celts. She’s the patron of spinners and loves cats. She’s a year-round goddess associated with all seasons and with farming and husbandry and plants and fertility. She’s also knows as Hulda and was later incorporated into goddesses such as Frygge and Perchta, when male/warrior values started to dominate European culture and religion, as they still do today.
Winter...

Finished: handspun Feather and Fan shawl


My plan for larger stripes at the bottom did not work out as well as I thought. I’m also not convinced about the obvious “stripeyness” of this shawl, I prefer the more toned down green one.

Still, I’m wearing it today. It’s nice and soft and just as functional as my green one. I think when worn the colours may blend in with each other, conveying a greyish purply shawl. Definitely less contrast then the green one.

It’s the same size as the shawl Ribbels made:

I used up all the 100 grams and all the 357 m. I think I got 1 m left of the Dutch Wool Diva Sassy.

colour successes


It works! The way I spun up the roving. Hopefully now there will come longer stretches of colour and no rows with multiple colours in one row.

This is how I walked to sewing class yesterday:

Totally unplanned colour coordinated! Those handspun socks make me really happy.

I’m wearing them again today, with the dress. Wearing it into the city even because we’re going out for coffee and cake later because we filed the papers with the court this morning. I’m pretty nervous about them because it’s all been done under my name solely. I still need to learn that I’m just a name/number to the system, it’s not about me as a person. Cake helps with that I have heard. I will investigate. For the greater public good.

First results are in:

Test subjects are positive. Here too colour is of importance. More tests needed.

UPDATE

effect of coffee and colours has now worn off:

I fail to sew the shoulder seams correctly heehee

workshop Sammich Stitchin’/ Broodje Breien

Yesterday I was at the workshop Broodje Breien (=”Sammich Stitchin'”) at Wolop in Gouda. It’s a monthly inspirational course of 2 hours, accompanied with a lunch.

It teaches to find inspiration and translate it into knitting. Sources of inspiration differ every month and this month it was Nature. Previous months were “Van Gogh” and “Escher”.¬†The concept was developed by Loret Karman and a baker in Amsterdam.

Translation of the inspiration into knitting varies too. The focus can be towards colours, textures, shapes, garments, stitches, yarn characteristics, anything!
It’s very fun to do.

This was my work halfway:

I took this picture as an inspiration and although I identified many things that could be translated into “wool” such as a haloed yarn based on the animal contrasted with a more bumpy yarn based on the wood, I chose to explore its colours.

Wolop provided a mountain of colours and with my picture in hand I picked out 25 of the colours I discovered and took 1,5 m (2 yards) of each of them.

There were many more colours in the picture than I saw at first glance. I started to look at them, truely look at them, and study how they influenced each other.

This is an approach that is thoroughly done in the Sammich Stitchin’s / Broode Breien about Van Gogh -and indeed all Karman’s courses on the painter- but when it comes to colour interactions I personally prefer the work of Bridget Riley.

Most people know Riley because she excelled in Pop Art in the 1960’s. But her colour work is equally groundbreaking. She’s a methodical artist researcher and I think she takes Van Gogh’s end point of colour studies and takes it to a whole new level.
Example of Riley’s work:
Tate Modern -7 Nataraja by Riley, 1993. Pic by Allan Harris.

The trick to view these massive canvases is to look at them how you would look upon a pond in a park. Just let your eye glance over and let the colour blocks shimmer as if it was light reflecting of the pond. Than something happens in your head. Different paintings of Riley result in different effects. Just by her changing the colour palette and sometimes the shapes.

It’s amazing that she can create that effect and that sentiment in the viewer with the colours and the shapes she chooses. She does extensive research in her lab, with many assistents colouring in the shapes. She actively accounts for eye movements and peripheral sight. Oh how I wish to visit one of her exhibitions.
Or own one of her paintings… to have a shimmering “pond” indoors to visit at any time!

Yesterday I wasn’t thinking of Riley.
I had a collection of subtle colours, in little pieces of string, and was trying to combine them to show myself their interaction. The aim was to make a little note of these studies, a knitted note.
One way to collect the colours permanently is in a square of 5 x 5 colours, as is done in the Van Gogh workshops. Each colour just 5 stitches long and 7 rows high. But that was very slow knitting.
So I ripped and tried stripes because that’s quicker. This was me at the end of the 2 hours:

Broad stripes of 28 st long and 4 of 5 rows high.

But I don’t like stripes much. And these show even less the interaction between the colours than the 5×5 blocks would have done.
So 15 minutes later, seated on the train back I had this:

All stripes ripped out and ready to try something new.
Small stripes, “knitting the picture sideways”?

When I had to change trains I was making progress:

(Also making tangles.)

Later that evening I finished the piece, with only a few strands of the most contrast yarns left because honestly, they had no place in this piece:

I didn’t change colour every row, some are 2 or even 3 rows high. Sometimes I ran out of yarn midrow and then just tied a new colour. But I purposefully did not try to recreate the picture. I did not make a dark blob in the left upper corner. No expressive gestures either. In short: no saori-weaving, I dislike that about as much as I dislike neat stripes:
Climate Change Action Banner pic by saoriweaver, it’s a banner on climate change.
A stunning piece if you do like saori, check out the link.
It’s a spectrum, I admit. I did use the picture as a guideline, knitting my way from right to left, looking at colours and contrast.

This is the end result this morning, blocked and the yarn bloomed and colour corrected:

A nice exercise! Just playing with colours and stripes, talking to myself in yarn, about colour interaction and contrast and colour families. I really like the middle and the right, where the contrast is more subtle. Colour in Fair Isle was also on my mind a lot.

Yesterday, after taking the first picture I stood over it and looked at the colours some more. Then I noticed something:

Heeheehee, it’s a good week for misty, nature-y greens!

Writing this now I feel I like to think some more about stripes. Families of colour stripes. Not the two toned stripes I see in most knitted garments. Small stripes. Interacting stripes. Not too extrovert contrasts.

Just now, when I looked at the Creative Common section of Flickr for online share-able pictures of Riley’s work, I see she does stripes too. (of course she does!)

Praise I - Bridget Riley Praise 1 by Riley, pic by Brett Jordan

This painting is clearly talking about contrast (not too much, there’s no white/black) and about warmth of colours (warm yellows and red with cool blues). About repetition without repeats, although sometimes a colour gets sandwiched -heyo!- between two similar colours.

And it talks about vertical-ness very much too. The vertical stripes do something to my eyes… (don’t try to focus! You’re not supposed to focus.)

They make me consider that humans are very vertical orientated beings themselves and have a natural connection to vertical lined things. Trees, cathedrals, other humans, ostriches, giraffes, alien silhouettes in a misty scene.

I think boulders, corgis and piramids enchant us because they are very not-vertical-lines.
pic by fuzzyard

In 1999 Riley got some recognition for the giant that she is, British Post made a stamp:
Bridget Riley stamp pic by cuthbert25
Inadvertably showing that cropping a work that’s meant to be viewed as a whole communicates very different things. Here we do not get the chance to let the colours shimmer. Because their width is now significant in relation to their height we now see them as regular stripes. They now mainly talk about the colours close to them.

This could be a knitted pullover, viewed from the side. As a matter of fact I think I saw this in a shop last Summer? On a mannequin wearing a coral floppy hat and sunglasses, with a white beach bag besides her.

Quick! Let’s get back to shimmering stripes and making connections between all kinds of outlandish inspirations!

I’m starting to like stripes.