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Show me yours and I’ll show you mine

This is my stash, folks.
This is the entirety of it, save for a few tiny scraps I’ve likely forgotten down the back of the couch.

On the left I have animal fibres; mostly wool and alpaca for the projects I’m working on right now.
And on the right is cotton; used for my ongoing series of animal amigurumi which my Patreon peeps are well familiar with.

The reason I’m showing you this is to help counter a little of the inadequacy I’m sure some of you feel when Social Media dazzles you with the absolutely massive hoards of luxury yarn accumulated by some lucky crafters.
You know the Instagram Reels I’m talking about, right?

“You mean, that’s not a yarn shop?!”

The fact is, collecting yarn can be an expensive hobby completely aside from knitting or crochet.
And without a healthy income most makers can’t afford those kinds of hoards. Most of us buy what we need when we need it and only get as much as we need. Most of us budget and substitute for cheaper yarns and wait til our next pay day to hit “Purchase”.
Most of us use what we have to hand first.

You just don’t see people showing their small stashes on the internet so frequently because there’s no glamour in it. So, I’m showing you mine.

This is how I work; I design the thing, calculate yardage, add a ball (just in case!) and place an order.
I then get the yarn, I make the thing, and when I’m done I have maybe half a ball left over. That half ball eventually finds its way into a separate project, so there’s very little left on my shelves to show for it.

Yarn passes through my work space oftentimes without leaving so much as a footprint. It doesn’t have much time to mingle on its journey.

So, the yarn I have right now on the shelf is either gift yarn, work yarn which will be gobbled up by the design monster in short order, or left-over bits I’m keeping around for secondary projects.

Now, don’t got me wrong here. There is nothing at all wrong with having enough yarn to cover all the major land masses on a medium sized planet. Would that we all could! I gaze at those images with avarice and envy same as everyone else. In quiet moments, I dream of diving into a pit of yarn and doing my best Scrooge McDuck impression. I’d literally never surface.

But for many that’s all that can be; a fantasy. And it’s for them that I’m showing my tiny stash.

If I, a literal professional full-time designer with lots of yarn-dying friends and over 100 patterns in my back catalogue only has this much in my stash right now… well, I hope it helps you feel better about your collection.


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Handmaking my world

Lately, I’ve been trying to settle on a colour palette for future clothes making endeavours.
I’ve been researching, reading colour theory, comparing eras…

If you’d told me I had ALREADY chosen a colour palette, I’d have disagreed. But here I am, organising my winter hand mades and clearly… CLEARLY… I have already decided.

Muted secondary colours it is, I guess!

This is a collection of knitting, crochet and machine sewing. Each piece is designed and drafted by me, made by me to my taste out of fabrics and yarns I’ve chosen for texture or colour, or dyed til I was satisfied.

Each piece is made to fit me.

I’ve no sizing information. No idea what size each one corresponds to in real terms. They each make me comfortable in my skin because they conform to me, not the other way around and there’s power in that.

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Sewing up your colourwork mittens


You have all your three mitten bits made, and it’s time to sew them all together.

Here’s how I did it:

First Things First

Weave in your ends and block your pieces.
Tunisian Crochet fabric has a tendency to curl, you may have noticed.
Tunisian Knit stitch is renowned for this feature. And as we’re working a pretty dense fabric for our mittens, that curl can be quite enthusiastic.

So blocking before you sew will ensure your panels behave (and look) far better.

All blocked and ready to rock!


With Wrong Sides facing in on Panels 1 & 2, seam up thumb side of wrist from Row 1 – Row 24 with Main Colour

Starting at the cuff, use a top / whip stitch to seam up edge of cuff.
Stop sewing when you complete the horizontal stripes.
I like to add a few extra stitches to the last stripe to reinforce the edge.
First seam complete. Gorgeous!

Adding The Thumb

Then, with wrong sides still facing in, align marked st on thumb with top of wrist seam.
Seam side of thumb with left Panel for 15 (17/19) sts.

Fold thumb in half lengthways and seam up edges to tip of thumb.

Use a whip / Top stitch for a flat thumb seam
weave a strand of yarn in and out around tip of thumb
pull firmly to close hole


Finishing Up

Beginning at top of wrist seam again, seam other side of thumb with other Panel for 15 (17/19) sts.

Begin sewing where indicated above.
continue seaming around edge of glove, and down other side of cuff.

Weave all your ends in, and you’re done!

One of the beautiful things about this method of construction is that it is infinitely adaptable.

If you find your hand fits better in a Large glove, but you thumb finds a Large thumb too roomy, you can down size to suit you. Similarly, if your thumb is larger than the mitten size that fits, you can shift that around too.

There is no need to rip back all your work to the base of the thumb and re-do it all. You just need to whip yourself up a new thumb and lash that on in.
Super!


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A reverse TSS2tog for a neater mitten


Tunisian Crochet has a symmetry problem, insofar as it has none.

You may have noticed that each row’s stitches are drawn from the last row’s stitches by pulling them out of the fabric on the side of your dominant hand. This barely matters when we’re working a large piece, or when a slight shift to the right or left can’t be noticed, but for colourwork, especially colourwork that contains decreases, it becomes pretty clear pretty fast.

My mitten designs include TSS2tog decreases towards the finger tips that help reduce the number of stitches, drawing the mitten tip to a pretty point. But, as they are colourwork mittens, the decreases pose a problem;
while the decrease on the right of my fabric (my dominant side) looks lovely and neat, the one on the left gets all bitty and jagged.

Booooooo.

Compare the photos below to see what I mean:

The pink line on the left is made with regular TSS2tog sts and is jagged and broken as a result
The pink line on the left is made with a reversed TSS2tog and is neat and solid as a result


What we’re going to do in this tutorial is work the first TSS2tog as normal. No point in fiddling with perfection, right?

Then we’re going to use a blunt-ended darning needle (a bodkin) to simulate a TSS2tog in the opposite direction.
Hold on to your hats, people. Things are about to get weird!

The First TSS2tog

Firstly, we’re going to work 1 TKS in yellow which is our Main Colour (MC), and then the first TSS2tog on the row in pink, our Contrast Colour (CC).

Make 1 TKS with Main Colour (MC)
Push hook TSS-wise through the next 2 sts, then YO with CC
Draw CC through both sts.
(1 TSS2tog made)

After that, we’re going to work TKS sts across to within 3 sts of the end.
Don’t forget to catch your floats!



Reverse TSS2tog

Here’s where our trusty bodkin comes into play.

Draw both strands to the front of the hook
Thread CC onto a bodkin
sew bodkin through next two sts in same direction as hook is pointing
Pull CC through fabric.
Remove bodkin.
Return both strands to back of fabric
Place CC loop on hook.
Tighten CC loop.
Work final MC TKS st and draw up a final loop in chain

Work return pass as normal.

After a few rows of this malarkey, you’ll see the effect of your reverse TSS2tog stitches.
So smooth!


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Make your Ogham Mitten UNIQUE!

Ogham (either pronounced OW-am or OG-am, depending on who you ask), is a native Irish writing system that is all of 2,000 years old.

It’s impossible now at such a remove to know exactly what it was most used for, but many of our surviving examples are carved into standing stones. A large number of those stones mark ancient boundaries between kingdoms, so the thought is that they were basically signs used to lay claim to certain tracts of land in the really early Medieval / Pre-Christian period in Ireland.

Ogham is a script made entirely of lines cut across a central spine, and is similar in many ways to Nordic Runes.

The Ogham script featured on my pattern sample is my name!
A O I B H E is spelt out from cuff to finger tip, but I’m happy to say YOU get to choose what you’d like to put on your gloves to make them personal to you. Below, you will find a full alphabet (in Ogham order, rather than Aplbhabetical) and in the pattern you’ll find a blank chart so you can make your mittens absolutely unique.

All I ask is that you spell your words from bottom to top, like the ancient Irish did. 😉

Getting Charting

On your mitten you have a maximum of 37 lines.
As some letters use up more space than others, I have added a line count to the side of each letter’s chart, so you can plot accordingly.

Some letters you may expect to see don’t exist in Ogham.
Y, for instance, and V – but those can be represented well with close alternatives. In those cases, I have labelled the alphabet above with both variations, so you can make the best guess.



All you have to do now is decide with you wanna write, then print out the blank chart in your pattern, and add your letters in pencil.



Got a long name, or lots to say?


Luckily, Ogham can be used both letter-for-letter, or phonetically.
So, a name like Jennifer can be condensed down to “Gnfr”, and still be totally Ogham-legit.