Karie Bookish Dot Net

This Thing of Paper – Hey, It Is Live!

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Gosh, it feels like yesterday I finally made the leap from having This Thing of Paper in my head to sharing the project with you all. And yet today I can finally share the Kickstarter page with you. Yes, it is now live and will run for the next thirty days (until June 22 at 9.40am GMT).

To summarise, This Thing of Paper is a knitting book with ten patterns and accompanying essays – all inspired by the age of Johan Gutenberg and the invention of the printing press. I have chosen to do this book as a Kickstarter because I want to produce a quality book; a book that is as beautiful to hold and read as the patterns will be to knit and wear.

You can read my full introduction here. I have also blogged about my design considerations as well as being transparent about how my budget works.

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All the patterns inside This Thing of Paper form parts of a book, both figuratively and literally. They are divided into three distinct stories:

Story 1: Manuscript. The story of handmade manuscripts and the people who worked on making them. This story features one garment and two accessories. The colour palette is rich and sumptuous.

Story 2: Invention. The story of the period in which Johannes Gutenberg transformed book production. This story features one garment and three accessories. The colour palette is more restrained but still features saturated colours.

Story 3: Printed. The story of when printed matter became more commonplace and helped spread information across Europe. This story features one garment and two accessories. The colour palette veers towards naturals with accent colours.

The three garments will come in seven sizes, whilst the accessories will come in two or more. All patterns cater to a range of difficulties. Unfamiliar techniques will be explained. All patterns (bar one lace project) will be both charted and written out.

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I have a marvellous blog tour coming up filled with people whose work I admire so very much. It is a such huge thrill to have them write about This Thing of Paper.

May 26: Naomi Parkhurst

May 27: Meg Roper

May 30: Natalie Servant

June 1: Jacqui Harding

June 6: Woolly Wormhead

June 8: Tom of Holland / Tom van Deijnen

June 10: Ella Austin

June 13: Leona Jayne Kelly of Fluph

June 15: JacquelineM

June 16: Felix Ford/KNITSONIK

June 17: Clare Devine

June 20: Dianna Walla

Yowza! I have tried to come up with an interesting combination of people who would each approach the project in their own way.

And there you have it. From an idea back in 2012 to a Kickstarter that launches today. I really hope you like it.

This Thing of Paper: Thoughts on Crowdfunding & Rewards

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So, I have introduced you to This Thing of Papermy book-sized project about knitting, making and printing. I have also written about my design considerations. Now, the details about the Kickstarter campaign which launches on May 23 2016.

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It was a long, hard decision to start a Kickstarter campaign for This Thing of Paper. I learned a lot of lessons doing Doggerland: I learned about graphic design, editing to a style sheet, defining design vocabularies, and photography. Most importantly, I learned that I cannot do a project like that on my own (or it will take a very long time). I need a team to support me, so I have time to create the content that is so central to my project.

But hiring good people costs money. Blocking out my calendar with creative time also costs money.

And so when I costed This Thing of Paper, I thought it would remain a passion project. One of those projects I’d work on when I had small pockets of time and maybe, just maybe, it’d see the light sometime next decade. Then several knitters (independently of each other!) asked if I had considered crowdfunding. You know what? I hadn’t, but one year later here we are just a few days away from a campaign launching.

Making the decision to crowd fund has meant that a) This Thing of Paper can become what I want it to be rather than an ongoing series of compromises and b) working with the knowledge that I am not alone – I have people backing me and supporting me all throughout the journey.

Crowdfunding means more than just financing a book project; it is also about feeling part of a loving, supportive and cheerleading community. Both things are really awesome and I am so grateful to the people who suggested I travel down that route. Fingers crossed that we get to set off on this adventure.

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The Kickstarter for This Thing of Paper aims to raise £9,700 in 30 days. Because I am a big believer in transparency, this is how that sum breaks down:

The material costs include physical rewards, postage, packaging and printing. They come in at £3575.

Intangible costs include hiring a professional graphic designer, a proof-reader and a technical editor. I will also pay myself a small amount each month to offset time to work on the book. Combined these costs come in at £5250.

The remaining £875 go towards various fees.

The book is scheduled for publication in April 2017 – I know from experience working both on my own and on various collaborations how long knitting publications take to make. Instead of making rash promises, I am working to a realistic timeline – especially considering I will still be teaching throughout the period.

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Now for the sweet part – the Kickstarter rewards. My partner David has supported a number of Kickstarters over the years and it’s always so joyful to see all the little extras that arrive. It’s been a lot of fun thinking of rewards and goodies, I can tell you! So, here are the seven reward levels.

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Pledging £5 or more gives you a whole lot of gratitude & a big thank you in the book!

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Pledging £10 or more gets you a big thank you in the book as well as two single digital patterns
from either the Doggerland or Hygge collections sent to your email.

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Pledging £20 or more gets you a printed copy of This Thing of Paper (plus a digital download code for the ebook) and a big thank you in the book!

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Pledging £30 or more gets you a printed, signed copy of This Thing of Paper (plus a digital download code for the ebook), two This Thing of Paper bookmarks and a big thank you in the book! You also get an exclusive Early Backer digital pattern. This pattern will be sent to your email and won’t become available anywhere else.

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Pledging £50 or more gets you a printed, signed copy of This Thing of Paper (plus a digital download code for the ebook), two This Thing of Paper bookmarks & badges, a This Thing of Paper tote/book bag, access to exclusive Facebook group, and a big thank you in the book! You also get an exclusive Early Backer digital pattern. This pattern will be sent to your email and won’t become available anywhere else.

ttop100Pledging £100 or more gets you a printed, signed copy of This Thing of Paper (plus a digital download code for the ebook), two This Thing of Paper bookmarks & badges, a This Thing of Paper tote/book bag, access to exclusive Facebook group, and a big thank you in the book! You also get an exclusive Early Backer digital pattern. This pattern will be sent to your email and won’t become available anywhere else.

Oh, and an hour long Skype chat with me!

It’s up to you what you want to talk about: do you want to talk about a specific knitting technique? do you want me to give you feedback on your portfolio? or do you simply want to hang out, chat & knit over Skype? It’s all up to you! Let’s have fun!

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Pledging £500 or more gets you a printed, signed copy of This Thing of Paper (plus a digital download code for the ebook), two This Thing of Paper bookmarks & badges, a This Thing of Paper tote/book bag, access to exclusive Facebook group, and a big thank you in the book! You also get an exclusive Early Backer digital pattern. This pattern will be sent to your email and won’t become available anywhere else.

Oh, and a weekend with me in Glasgow, Scotland!

Let me show you around my adopted home city of Glasgow, Scotland. See it through my eyes: tenement tiles, art nouveau and contemporary street art, irresistible vintage bookshops, Victorian museums, fabric and yarn shop visits, artisan coffee shops, or (weather permitting) maybe even a dash to the picturesque West Coast? (Please note that travel, accommodation, and food are not included).

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I hope the rewards tickle your fancy. I wanted all the extra goodies to have a flavour of bibliophilia, so there are bookmarks and a book bag tucked in there along the exclusive Early Backer pattern and the very, very big thank yous.

Any questions? I’m currently collating any and all queries, so I can answer them in the next blog post (which takes us up to the launch and the amazing blog tour of people I just admire so darn much).

(Have you noticed the little bar or scroll I’ve used in these This Thing of Paper posts, by the way? It’s hand-drawn by me and should give you an idea of the sort of details I am adding into the book (alongside awesome patterns and essays, of course))

This Thing of Paper: Design Considerations

I introduced This Thing of Paper last week. This week I am writing about the work that went into the design process and how I defined the design vocabulary. If you like reading about how designers’ brains work, this post will definitely give you a glimpse into my way of working!

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Work on This Thing of Paper started some time in 2012. I began talking to friends and colleagues about this mad notion I had: I wanted to make a knitting collection by hand like a medieval scribe. The practicalities made me abandon this idea: I am a semi-competent calligrapher, but making a whole book by hand* would have taken me years. Also, pattern support would have been interesting (“Let me send you a handwritten letter about row 97”) and the idea of inserting errata was daunting.

*) manuscript literally translates as something ‘written by hand’!

As it happens, though, I have a background in book history and as the idea of making a book by hand left me, I began thinking about the shift from manuscript to printed book. I knew I’d have enough material to write about but I had to find out if I had design material.

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I set up a moodboard. I browsed digitalised archives of books from the period. I visited art galleries & museums (and one of my local museums was even kind enough to have a relevant exhibition!). I sketched and examined sources from 14th century Book of Hours manuscripts to 16th century embroidery manuals.

Keywords emerged as did a distinct colour palette and design vocabulary.

The colour palette was fairly easy to conceptualise: parchment and paper with ink and decoration. Soft natural shades with rich, deep mineral-derived pigments. Below you can see some fairly typical details from 14th century illuminated manuscripts and how they translate into colour palettes. Contrary to what many people believe, though, most manuscripts were not highly decorated. As time progressed, technology allowed for woodcuts to be inserted into printed pages – some were tinted by hand afterwards.

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Related: here is an  an excellent article about why it is impossible to replicate the colours of medieval stained glass.

The design vocabulary was harder to capture. I had worked with such a sparse design vocabulary for Doggerland that I was overwhelmed by the visual possibilities in This Thing of Paper. Dragons! Devils! Stars! Acanthus leaves! Overwhelmed.

Instead I began to fall in love with the concept of negative space. Paper being much cheaper than vellum meant that you did not need to cram as much information as possible into a page; margins became wider and spaces between words appeared! I’ll be writing much more about this in the actual book – but how things relate to one another in a confined visual space definitely became a thing for me. I also fell for small geometric motifs and how things are visually repeated in different ways.

So, the design vocabulary is much more exuberant than it ever was for Doggerland, but it does not mean I have not edited it ruthlessly. I am placing the visual cues in a 21st century context with wearability at the forefront. Less rustic garterstitch and pared-down lace; more play with colour and delicate, ornamental motifs.

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Further design considerations: I wanted items that would appeal to a range of knitters. The projects are aimed at advanced beginner knitters to advanced knitters. Some projects will be achievable in a weekend or over a week; others will demand more involvement. The items cover texture, colour and lace. Needing to include such a variety of things in a relatively small collection meant editing what I needed to design.

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For structure, I divided This Thing of Paper into three sections (or three main stories, if you like) and each section includes a garment as well as accessories. Each of the three garments will be graded across seven sizes (XS to 3X) and will have notes on how to modify fit. The accessories are a mixtures of shawls, hats and gloves. I’ll be including sizing options here as well. Most patterns will be both charted and written out, because I know many people prefer to work from both (the jury’s out on one shawl pattern, but I will keep you updated on that).

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Thank you so, so much for all the enthusiasm and excitement so far. This is already a long entry but I want to tell you how much your reaction has meant to me. At the risk of sounding corny, I genuinely feel like I’m not alone on this whole This Thing of Paper journey because you are all sharing this adventure with me. I know this may sound like one of Those Inspirational Quotes I usually wince at – but I genuinely mean it. It is so nice to have you along.

Next week I will be writing about all the practical stuff (but there will still be pretty colours & images).

Introducing This Thing of Paper

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It is time to announce a project that has been a long time coming.  It is a project dear to my heart and one that I hope you will love as much as I do.

May I introduce you to This Thing of Paper? As both a knitter and a bibliophile, I have been yearning to do a project that combines my two loves. So many of you have been asking for a physical book, and I’m afraid I really took that concept and ran with it. On May 23, 2016 I will launch a Kickstarter for the publication of the book. I have chosen to do this as I want to produce a book that is as beautiful to hold and read as the patterns themselves will be to knit and wear.

This Thing of Paper is a a book of ten knitting projects with accompanying essays. The project is inspired by the age of Johan Gutenberg and his invention of the printing press. Gutenberg’s work meant that books changed from being rare objects reserved for the elite to something that ordinary folk could access. I have always been fascinated by how one invention could change the course of history.

But there is more to this story.

I have been working with primary sources ranging from 14th century illuminated manuscripts to 16th century embroidery manuals. I have cast my own type* and printed a facsimile page of Gutenberg’s 42-line bible on a replica 15th century printing press (once used by Stephen Fry, no less!). This Thing of Paper is steeped in one woman’s love of vellum, marginalia, woodcuts and rubrication.

*(which won’t be used in the book, though. I’m not inflicting pre-1500 typefaces on you!)

And I am doing all of this firmly focused on knitting.

Knitting and books share several characteristics and I particularly love the materiality of them both. Yarn flows through my fingers – and some yarns just feel right in my hands which means I keep returning to them. Books give me that feeling too. Some books are perennial favourites simply because they rest in my hands just so. One recurrent theme throughout This Thing of Paper will be the materiality of things and how we interact with those – just like inhabiting physical and imaginary landscapes was a core part of my Doggerland collection.

As for the knitting patterns, they will not be replica 15th century fashion. All the patterns inside This Thing of Paper are parts of a book, both figuratively and literally. In reality this means three garments (in seven sizes because that is how I roll) and seven accessories. I will later share a Pinterest board, so you can see exactly what inspired me. The patterns are contemporary and come in a range of difficulties.

Oh, and why This Thing of Paper? The title is taken from a 15th century treatise raging against the terrible, terrible modernity of the printing press called De laude scriptorum (In Praise of Scribes – I’ve read this treatise, so you don’t have to). The full quote reads:

Who is ignorant of the difference between writing [scriptura] and printing [impressura]? A manuscript, written on parchment, can last a thousand years. How long will print, this thing of paper [res papirea] last?

I just couldn’t resist.

Stay tuned for more blog posts about the designs, the Kickstarter details (there are some truly ace rewards) and I even have a blog tour lined up with some really amazing, talented people.

A Quick Word About Life & Knitting

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Recently I have been a bit busy and fallen behind on, well, everything. I’ll reveal everything later this week but we are still in the process of getting things right behind the scenes.

In the meantime, I thought I’d share an interview I did with Scottish mental health advocates, Mind Waves. I am a strong believer in the restorative powers of knitting. I am also hugely grateful for all the love and support we share in our knitting community. If you are a regular reader, you will know that rediscovering knitting helped me through some rough patches in my life – and I know I am not the only one. Many of you have been kind and generous enough to share stories about your life with me. Thank you.

Knitting is kind and generous too. When life does not afford us the chance to start things over and correct mistakes, knitting is patient and does not mind when we have to rip back a few rows to untangle a cable. Knitting can be as simple as a cast-on + a knit stitch + a cast-off (a beautiful thing for the uneasy soul); knitting can be as challenging as Estonian lace (equally beautiful for a mind that seeks distraction). We may have uneven stitches, but blocking sorts that out.

Sometimes I wish life could be more like knitting, but then I look around me and I see a life filled with knitters, stitches, yarn, and books. I think it’s as good as it gets.

Change Is Good; Change Is Slightly Scary

Casa Bookish has seen some pretty big changes over the last few weeks. It is a really exciting/scary time for me and I want to share a few glimpses of what is going on.

Team Bookish has expanded slightly. I’ve admitted that doing admin isn’t my idea of a great time (and that I spend too much time on it), so going forward some of you will start encountering Katherine rather than myself. She has vast experience organising creative brains and she’s already made my working life a lot easier behind the scenes. I hope you’ll welcome Katherine to the Bookish fold  – she enables me to focus more on designing and she loves a good spreadsheet!

You may have heard me mention this on social media: I’m working on a rather big project. I’m currently doing research and getting the details right, so I can start talking about it properly. It is a book-sized project and it’s a somewhat ambitious & left-field one (this is from a woman who did a collection inspired by Mesolithic archaeology, land art, and psychogeography!).

I’ve shared a few images on Instagram recently that I think you might find interesting.

I keep journals – commonplace books and creative journals, more specifically. I’ve kept them since I was 14 years old and they are some of my most prized possessions. They are probably not interesting to most people (I jotted down a lot of ‘profound’ lyrics when I was 14) but I love looking through them.

The images I think you might like are from the creative journal I kept when I was working on the Doggerland collection (the Mesolithic archaeology one).

I find it so fascinating to see how I was working towards a very specific design vocabulary – dots, lines .. more complex motifs – and working on the basic conceptualisation of the projects – .. tools out of what’s available .. not making heirlooms but making practical items for here and now. I remember looking at Late Mesolithic pottery and thinking about how the decoration was achieved by pressing reeds into fresh clay – how would I translate that into knitting?

Right now I’m working with a new creative journal filled with similar musings on a completely different topic and a very different concept. Yet again I’m thinking about design vocabulary, colour palettes, and doing the necessary groundwork.

I really, really hope you’ll like it.

With Love From Edinburgh Yarn Festival 2016..

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I just waved goodbye to a good friend who had been teaching at EYF 2016 and was passing through Glasgow this morning. We never got a chance to connect during the festival itself – the weekend was hectic – so it was good to relax together for a few hours. This is what I both love and find so frustrating about fibre events: I get to see all these incredible people but I only meet them for a brief second.

Glimpses of connections. Fragments of conversations. Moments of meeting like-minded folks. I talked to Tori Seierstad on the bus about knitting local and Norwegian spinning mills. Donna Smith made a comment to me that made me think about knitting in a new light. Career advice was doled out (I both gave it and was on the receiving end – there will be a few changes going forward). I saw old friends and made new ones. And so many people I did not even know was there or that I missed seeing.

Never one for big crowds, I stayed away from the really big vendors – but the marketplace still felt really intense. So many lovely people! So much amazing knitwear! Such a buzz! It felt so exciting and so overwhelming. I was very thankful to have Mr D with me – not only does he love a good chat but he was also excellent at supplying me with coffee.

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I think it will take a few more days for me to process EYF 2016. It was more international than ever – I felt this both in the Corn Exchange itself and certainly in my classes. It also felt more colourful – if that makes sense. Knitters were more stylish than ever and I saw so much incredible colourwork and colour combinations. I saw some incredible yarns up close – from undyed single-breed yarns where the vendor could tell me the name of the sheep to the high-end luxury blends with saturated colours. Orange and yellow were everywhere, but plant-dyed yarns were also pretty hot. Shawls dominated (so many Byatts! I loved them!) and socks were definitely less of a thing than they had been in previous years.

But mostly, like all EYFs, it is all about the people. I got to spend time with some very awesome people and it made me so very happy. Thank you Jo & Mica for another terrific year!

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This is one of my favourite photos. We were very, very silly.
L-R: Larissa of Travelknitter, me high on yarn fumes, Helen of the Wool Kitchen, and Amelia of Woollen Words

See You at EYF 2016, Lovelies

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I’m currently knee-deep in prepping for this year’s EYF. It’ll get done but I’m thankful I have Mr D chipping in! We will be at EYF Friday and Saturday (I’m also teaching Sunday). Will you be there? Wave your hands here, so I know to look out for you!!

(Note: I’m *terrible* with names & faces but can spot good knitwear from ten miles away! Don’t be offended if I mess up your name even if we spoke yesterday – I sometimes call my best friend by the wrong name!)

FRIDAY I’M IN LOVE

  • Come & say hello at the Ripples Crafts stand between 11.30am and noon.
  • I am teaching Pattern Writing in the afternoon – it’s a new & exclusive EYF class and I’m really looking forward to talk really nerdy stuff :)
  • I won’t be at the dinner or ceilidh, sorry.

SATURDAY’S ALRIGHT FOR, er, KNITTING (sorry Elton)

  • I’m teaching Faroese Shawls in the morning. Another new class and another one where I get a bit nerdy.
  • I’m doing a signing session/trunk show at Ysolda’s stall at 2.15pm. Bring your Wool Tribe magazines! Come and show me your projects! Grab a shawlfie with me! I’m bringing samples and patterns! Wheee!

LAZING ON A SUNDAY AFTERNOON..

  • Except I’m teaching Beaded Knitting in the afternoon. This is always one of the most relaxing workshops I teach and it’ll be a lovely way to wind-down after a hectic weekend.

GENERAL STUFF

  • Ripples Crafts will be stocking Frances Herself kits & is happy to talk colour choices if you cannot decide! She also has a few Byatt patterns in stock if you are looking for a hard copy. I won’t be bringing any Byatt patterns myself, just fyi!
  • The Queen of Purls is selling several of my patterns (including Mahy and Scollay) and is also bringing some really luscious samples. Her Mahy is just beautiful – go check it out!
  • I have recently cut my hair, so if you see a long-haired chubby brunette with a blunt fringe & black specs .. that is no longer me! I am now a bobbed-haired chubby brunette with a blunt fringe & black specs! I know this is a strange thing to point out but I have had this happen to an acquaintance recently!

RIGHT – WHO’S GOING?! What are your plans?

PS. If you are waiting for an email from me, please be patient. It’s all EYF prep, festival and recovery in Casa Bookish. If it’s urgent, please text me.

Something to Think About: Articles on Textiles & Wool

Are you looking forward to the Edinburgh Yarn Festival? My plans were slightly scuppered this week when I was laid low by the lurgy. So, no handmade dresses for me but I shall dance around EYF nonetheless (hopefully without coughing).

I thought I’d share some links with you.

+ Mark My Words: The Subversive History of Women Using Thread as Ink. A chilling, important read about how women have used textiles to communicate.

“..a rich tradition of women stitching words onto clothes, turning to thread and fabric in place of ink and paper. The reason behind this practice is obvious: Embroidery, needlework and darning were traditionally a female domain. That’s why we have the word “needlewoman” and not “needleman.” Much has already been made of the power to play with that heritage. Throughout modern history, plenty of artists have reclaimed this craft, which was once overlooked and consigned to the realms of the domestic.”

+ Losing the Thread: Textiles As Technology:

“..As late as the 1970s, textiles still enjoyed the aura of science. Since then, however, we’ve stopped thinking of them as a technical achievement. In today’s popular imagination, fabric entirely belongs to the frivolous world of fashion. Even in the pages of Vogue, ‘wearable technology’ means electronic gadgets awkwardly tricked out as accessories, not the soft stuff you wear against your skin – no matter how much brainpower went into producing it. When we imagine economic progress, we no longer think about cloth, or even the machines that make it.

This cultural amnesia has multiple causes. The rise of computers and software as the very definition of ‘high technology’ eclipsed other industries. Intense global competition drove down prices of fibres and fabric, making textiles and apparel a less noticeable part of household budgets, and turning textile makers into unglamorous, commodity businesses. Environmental campaigns made synthetic a synonym for toxic. And for the first time in human history, generations of women across the developed world grew up without learning the needle arts.

As understandable as it might be, forgetting about textiles sacrifices an important part of our cultural heritage. It cuts us off from essential aspects of the human past, including the lives and work of women.”

And I know that this one has been doing the rounds, but it is still wonderful (and I have Viking blood in my veins, so that makes me even more happy).

+ No Wool, No Vikings: The Fleece That Launched a 1,000 Ships:

“..All that wool! It took land and farming skills to raise the sheep that supplied the wool, and a support network of (mostly) women whose spindles and looms produced the cloth. Textile archaeologist Jørgensen says the introduction of sails must have greatly increased the demand for wool and grazing land. Norway-based historical textile researcher Amy Lightfoot has even speculated that the demand for pastureland might have driven the Viking expansion as much as the gleaming temptations of stolen treasure and legitimate trade. Clearly the classic image of wild-haired Viking warriors isn’t the whole story.”

Enjoy your reading. I am off to snuggle up in bed underneath blankets with some comforting garter stitch. I’ll see you at EYF or beyond.

Getting Ready for Edinburgh Yarn Festival 2016

March 2015 052I cannot believe Edinburgh Yarn Festival is less than two weeks away. Where did the time go?!

Last year I was so busy that I never really made it into the marketplace and I missed out on so much. This year I may be teaching three classes, but I’ve made sure not to overcommit myself. No pop-up stall, no evening shenanigans, and no .. well, okay.. I do have a few things planned but I’ll get back to those closer to the Festival.

If you have never been to a fibre festival before, I wrote a small survival guide last year. EYF is one of the biggest events on the knitting calendar and my guide contains some great tips.

However, I’ve heard from people that they think EYF sounds too big and stressful – this could not be further from the truth. Despite the apparent scale of EYF, it is rooted in community. It is a real celebration of the knitting community, you’ll be among like-minded people, and there are big pockets of calm throughout. Last year the Podcast Lounge was an amazing place to hang out with comfy sofas, people knitting, and lovely podcasters like Louise, Jo & Louise spreading joy (and calmness). It looks set to be another great year for the Lounge, so that’s a great place to visit if you need a break from the marketplace.

Speaking of the marketplace, I have quite a few places I want to check out.

Blacker Yarns is one of my top priorities. They are sponsoring the Podcast Lounge and I’m keen on seeing the Tamar colour range as well as checking out a few other yarns I am curious about. Jamieson’s of Shetland is always another draw for me. And naturally I am going to swing past my friends at Midwinter Yarns to have a look at their Nordic goodies. I’ve primarily worked with their Pirkkalanka yarns  from Finland, but the Ullcentrum and Filcolana yarns are also well worth a look. The Gotland yarn is particularly lovely but you do owe it to yourself to have a look at Pirkkalanka. I’m also excited about New Lanark showing up to spread the word about their fantastic workhorse yarns spun just down the road from me.

Then the small indie yarnies. I missed Dublin Dye last year and I was kicking myself. The Little Grey Sheep is also on my list (mmm, gradient packs) and I’m so excited to see The Wool Kitchen with their modern, zingy approach to dyeing. If you’ve yet to see the stunning mohair/Wensleydale yarns from Whistlebare, you are also in for a treat. I’ll be there gazing adoringly.

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And perennial favourites too. I think it’ll be the first visit up north for Kettle Yarn Company – do not miss her. Linda has some really special yarns and a painterly approach to dyeing. Caerthan of Triskelion is your go-to man for rich, deep, astounding jewel colours. Eden Cottage Yarns is another must-visit with her soft, wistful colour palette and unique bases. Skein Queen is back this year with her luxury yarns – I especially love her eye for semi-solids. My good friend Old Maiden Aunt will also be back with her dark, rich colours dyed on the West Coast of Scotland. Finally, Wollmeise. If you need an introduction to Wollmeise, try a Ravelry search. Wollmeise is stuff of knitting legends: strong, vibrant colours on bases that appeal to both sock fans and lace geeks. I think she might be quite busy but I’m still planning to drop by.

ETA. Pretty darn excited to hear that the Knitting Goddess is not just bringing her exquisite hand-dyed yarns (don’t miss her Colour Wheels) but also FQs with screen-printed knitting designs. I swooned over them on Twitter and will be first in line to see these wih my own eyes.

Skein Queen Gotland loveliness

Three stalls you and I won’t want to miss:

Shilasdair hails from the Isle of Skye and I used their stunning Luxury 4ply for my Burnet hat you’ll find in Wool Tribe. Their yarns are naturally dyed (the plants are still picked by hand) and the colours are inspired by the Scottish Highlands.

The Queen of Purls is not just my local yarn shop, but also the name under which Queen Zoe dyes her own yarns. She leans towards a soft, nature-inspired palette (particularly good on yellows and oranges which can be hard to find). It’ll be her first time vending at EYF as Queen of Purls and I cannot wait to see her selection.

Ripples Crafts probably needs no introduction either. Helen lives up, up, up north in the Highlands and dyes yarns that reflect her surroundings. She has a big number of fans already, but if you are curious to see the yarn I used for Frances Herself, do pop by. I am certainly planning to do so!

Finally, finally, I am planning on simply catching up with friends. Because Edinburgh Yarn Festival is essentially about catching up with friends, forging new friendship bonds and being part of a big, lovely, squishy community. See you there.

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