A short while back I bought a skein of Artisan HERON by Zealand, a rare impulse by for me. I was doing last minute Xmas shopping when I stumbled upon Close Knit, a beautiful semi local yarn store. (I still haven’t visited all the yarn stores Portland has to offer.) I’m not really a yellow person, but that mustard color was hard to resist. And the yarn is so soft and warm!
I had the vague idea of mitts when I bought it, and while looking through my patterns I came across the Maine Mitts by Carrie Bostick Hoge, part of the collection Swoon Maine. It was the perfect pattern. Easy to knit, I cast them on during one of the (apparently) rare snowstorms we’ve been having. Only change was accidental, and that was on the ribbing; I did knit, purl two every round instead of the garter rib specified. I like the result, though.
They’re incredibly warm, although they’re starting to get a bit stretched out (I may have to dampen them and toss them in the dryer for a minute), and have been perfect for the literally freezing weather we’ve had.
About the yarn– I love it, but it got so twisty while knitting it; I kept having to stop to try to untwist it. It’s 2 plies going the same way, so acts as a single.
Every week I will post images from my worktable as it goes through various states
We all see them, on Instagram, on Pinterest…beautiful artists’ studios, looking so tidy and elegantly productive. I’ve got multiple ones pinned onto my board to live/work/surround, myself. The reality? Maybe there are some artists who actually keep their studio looking like that…and have beautiful houses and such that house their studio. You know, with white painted floors and loads of wall space and endless light. But for the rest? Yeah, no.
Granted, I’m not really making any money off my artwork right now, so dedicating as much space to it as I do Pigeonroof Studios isn’t practical…or possible. Also, I’m not a painter, or at least I’m not currently painting.
The main medium I work with is collage. Which requires a LOT of small pieces of paper, and I save almost every scrap of the remainder if I only use part of something. Although I use some ephemera in my work, the majority of what I work with are images and text I make, or, rather, print.
I don’t have a fancy studio. I have an IKEA wooden table that I use as a desk and a small surface in my garage that I print at. I tend to work fairly small, so it works. I’ve become fascinated, though, by how my worktable looks on different days, depending on what I’ve been making, and I’ve been documenting that on Instagram. (This week probably not though, since my phone fell in the toilet last night and I’m waiting on a new one to come. Always buy insurance for your phones, folks!) I will put them here on the blog, too. It’s reality.
My second Kami hat knit in Lang Yak. I’ve said it before, and I’ll say it again, Lang Yak is my all time favorite yarn. While it’s not cheap ($14.50), the yardage is pretty good, 142 yards. I can knit a Kami out of one ball and still have yarn leftover. This yarn is SO warm, and it wears amazingly. I wish I could find my purple Kami, because it’s a great example of how well the yarn has worn over the last few years. No pilling. Ravelry project page here.
Home & Away, by Hannah Fettig, is one of my favorite pattern collections of recent years. Although I love every garment in there, my favorite is Lesley, the one pullover. I don’t really wear cardigans often. Boothbay and Georgetown are pretty alluring though, especially Georgetown.
I used deep stash for this sweater, Cascade Eco Wool which was a nice yarn to work with. I always find that with Cascade yarns– I’ll start knitting and be reminded of what great every day yarns they make. For the life of me I can’t remember how long ago I bought this yarn– I think on a destash. Definitely over five years ago.
If I ever knit this again, I’ll probably do more short rows to increase the back of the neck and lower it in the front– it tends to want to do a bit of weird gathering. I knit it with practically no ease, though; probably with more ease that issue would go away.
Now that I live in Portland, OR, I usually actually need to wear a hat when I step outside. (or inside, as the case may be, when our house had no heat for a week.) This is new to me; although it’s not eternal sunshine and balmy weather in the SF Bay Area, it never gets cold enough to need hat and scarf and gloves and multiple layers. Compared to other parts of the country, I know we’re pretty well off here temp wise, but we did have a snowstorm last week.
As a knitter, that makes me pretty happy. Although also annoyed that I’m not a faster knitter. I can’t find my purple Kami hat, which is was I’ve been wearing whenever I needed a hat since I made it. I knit another one, in my favorite yarn, Lang Yak. I wish it was easier to get in this country. I haven’t taken a photo of it yet though.
I also started another Kami hat in some deep stash yarn: Baby Alpaca Naturbelassen, shown above. It’s a great yarn to knit with; apparently it’s been discontinued but they’ve replaced it with Alpaca Queen….which is pretty much the same yarn. Just easier to pronounce.
However, I usually have 2 problems with hats :
1. They are too big. I have a small head. I’ve learned this the hard way.
2. The brim starts to ride down my forehead as I’m wearing it, driving me crazy. But I need it to cover my ears. Underneath a hooded jacket is even worse.
I think this one will be fine size wise, and hopefully a snug fit will help with the second problem. Several lovely people on Instagram, however, gave me good recommendations for hat patterns/styles that might do the trick. What almost everyone seems to agree on though, is a turn-up brim.
I might become a hat factory. They’re such satisfying and quick (depending on gauge and complexity) knits.
The pasta machine printing set up. I think I’d read something about printing with a pasta machine ages ago, but it was while browsing the internet that I came across this link about Julian Cox and his pasta machine printing techniques. I haven’t tried any etchings yet, but it works wonderfully for paper lithography. You can see the paper “plate” and the resulting print next to the pasta machine.