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:

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.

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.


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.

The Happy Swap Blues

Did you know that I don’t like to knit with blue yarns?
It’s true. I don’t like to knit with blue yarns and I can’t explain why. I find it boring. Tedious. It makes me moody and cross.
While blue is THE colour to compliment my face.

Luckily we have the “Achterstevorenswap” in the Dutch Karma Swap Group and I love to offer to forfill people’s wishes and as a result get to post my own wishes regularly.
Just recently I wished for a pair of blue socks and another time I wished that someone would knit me a shawl with my own blue yarn.

Both wishes were granted!

These are my new, blue socks:
blue handknits
These are Ophidia socks, a design by Hypercycloid Designs. These were knitted by Helga, as part of Tour de Sock 2015. TdS is a different kind of international sock knitting competition than Sock Madness: “Ophidia is Stage 5 of the 2015 Tour de Sock, a six-stage speed knitting competition benefitting Doctors Without Borders.”

Beautiful blue socks! With cables and ribbing and *sparkly* red and pink accents. Things I could never make myself and now this pair is mine 🙂
blue handknits

Helga also send me some little balls of yarn in nice colours for stranded knitting:blue handknits

Having forfilled my wish Helga got to post her own wishes and I offered to fulfill one of them and she chose my offer! So with the socks and the balls of yarn came a pair of knee high socks that needs to be overdyed. A bold adventure since the yarn is half wool half acrylic and acrylic does not take up dye. Also: it’s very difficult to dye an existing knit in an even way. For even dyeing you need to stir the pot and you can’t stir knitwear because it will felt.

It’s pretty daunting wanting to dye something this complicated for someone else but Helga is very gracious about it and about half of the time I feel like I know enough about dyeing to give it a try. I’ll make sure to start the dyeing project only when I feel like that!

My other swap wish was a shawl from my own blue yarn and I got it and I blocked it yesterday evening!
blue handknitsblue handknits
This pattern is Liliaceae by Angelika Luidl, a free pattern. I used this pattern once before, in 2010, to knit my mother a shawl in a very high end yarn:

This yarn is The Old Piggery Merino/Tencel Sock in the colour Sweet pea, 50% soft merino 50% tencel. Beautiful yarn! So soft en with such gleam. I bought it specifically to knit a shawl for my mother with, when I was on holiday, by myself, to Devon, to a knitter’s retreat, in 2010. It was a long weekend and it took me about a week to travel there because I had to make all kinds of arrangements because back then I could only travel for one hour and then had to lie flat for an hour. It was a wonderful weekend 🙂

It’s where I learned proper darning (Swish darning) and also carding with colours, from the inspiring Wrigglefingers whom I since have met again at Midwinterwol where she gives workshops in this technique and also: her daughter sells handdyed wool and I bought this green yarn at the last Midwinterwol for a Spring vest and it has indeed been cast on 🙂

Welsh Mule yarn by Shepherd Cat.

Yeah. It was a special holiday for me back then, still being very ill, and it being all about knitting. I wasn’t carefree enough to buy myself quality yarns back then but I did for my mum.

Now, in 2017, I am better in buying luxury yarn for myself and I bought and dyed this:

The yarn is Chester Wool 4 ply Mulberry silk,  that I dyed myself just a few weeks ago.
This yarn is thinner than the pattern calls for and that’s why Anneke cast on for 19 pattern repeats instead of 17. She knitted with needles 3,5 mm and used 85 grams of the 100 grams skein. The shawl is plenty wide and high enough.

Now I have this lovely Summer shawl I would never have knitted for myself, in just the right colour. 🙂

Preparing to show off chopped mushrooms.

Tomorrow is the knitters’ festival in one of the tiniest an oldest cities in the country: Nieuwpoort. (yes, it means “new port” and it was a new port on the river Lek (“which means “leak” (we have no fantasy when it comes to naming places))).

The festival is organized by The Schapekop, the LYS where I did the workshop dyeing with mushrooms back in February:

I was so going to knit a stranded vest with the yarn and bring it to the festival tomorrow and be all glorious and marvelous!

But of course I spend weeks fiddling with the chart and never getting it exactly right so there’s no vest to show. I do have one wristwarmer though:

The colours are beautiful and exactly as I want them for a cool, February-kind of vest I have in mind. It’s a good swatch telling me about gauge, colours and contrast. Especially that last one needs a lot more chart fiddling in!

The past two weeks I felt bad about bragging about a vest to the people who organized the workshop and then knowing I’ll show up tomorrow with nothing or just that one meager wristwarmer… Yes I felt so bad that I contemplated not going at all and spare myself the embarrassment. Which is ridiculous!

In fact, so ridiculous that I snapped right out of it and casted on for a stranded vest in totally different colours last Tuesday. Look at these colours!

So happy 🙂 So sunny 🙂

They are all dyed with mushrooms, apart from the blue which is a commercial colour and the white.

This vest and these colours I don’t need to get precisely right. It’s just bands and bands of motives, some borrowed and some made up as I go along. There’s a little bit of teeth gnashing when I get my contrasts imperfect but I give myself a pass for that. Overall I’m just knitting happy colours, straight under the radar of my perfectionism, and I’m just making metres and I already have something nice to show tomorrow.

Just now I had to stop knitting for a bit and learn about shaping and steeks. It seems you cannot just knit a tube and then cut holes in it for arms and head. Or can you?
I don’t know, I’ve never done a stranded, shaped garment nor have I ever intentionally steeked.

For this vest I did a provisional cast on (to bypass the ribbing at the bottom because I didn’t have much time to get to the good part and I don’t know yet which colours I’ll have left for the borders). Then I knitted a tube that fits my stomach.

At the level where my bossom starts I now have to decide whether to increase (how would that go in a chart?) or to insert a steek (cast on about 8 stitched which will be cut later on). Also there needs to given some consideration to arm holes I guess. I don’t know yet if they need decreases and a steek, I’ll be reading the pattern Great Horn-Rimmed by Mary Scott Huff for that:

pic by Mary Scott Huff  pic by Interweave Knits

I’m using various patterns. The stranded Ivy League Vest by Eunny Jang for looks and the Great Horn-Rimmed by Mary Scott Huff for shaping and steeking. That last vest is free, from Knitty, and I understand what it says 🙂

Ooh, setting up for a steek is easier than I thought. Just park one stitch, cast on 8 new ones using both yarns and knit those eight in stripes. Decreasing for the front panels occurs on the side of this steek-flap.

I’ve started the set up right away. Pretty soon I’ll add two at the sides too, for the arm holes. Must not forget to add shaping.

After I have completed the toppart I’ll undo the provisional cast on and knit down wards. My tube is not that high yet and there’s room to add waist decreases right at the bottom.

So that’s the plan! Now I have two nice things to show the mushroom guy tomorrow so he knows his first workshop ever was very much appreciated.