Crochet Hats: A Tutorial on Hat Sizing and Circumference Configuration

Author: crojocreates

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*Bear Ears Toddler Size Beanie: A CroJo Creation*

Hello. Today I thought I’d share with you all this handy way to figure out how to crochet a top down hat and always be on point. I’ve been crocheting for over 5 years and making hats on the fly is something that I more than often do. 

With this tutorial I can hopefully be able to help you out in a way that you will be able to make any size crochet hat and always be able to make the hat fit. So let’s begin!

Firstly I’m going to share with you this handy chart. It is my favorite kind of chart when it comes to the fit of a hat from sizes newborn to adult large: http://www.tottoppers.com/sizing/

Alright. Now that we have our chart we can begin to crochet our hat. For this tutorial we’re going to be focusing on making a 3 month sized hat.

Now according to the chart that hat is 16 inches in circumference. But how do we figure out how many rows to increase to make sure you’ve reached the desired circumference size? Simple. Simply take that number and divide it by 3.14. The number you get will be the diameter of the hat in inches. 

So since we’re working on the 3 month version simply divided 16 by 3.14 and that should give you a little bit over 5 inches. 

Now you know…whether you decide to work in single, half double, or double crochet…how wide to work your hat.

And as for the length that part is easy. According to our trusty chart we need to work a length of 6 inches from top to bottom. From this point on just keep working evenly with whatever stitch you desire until the final piece measures 6 inches long from crown to edge.

So remember: circumference divided by 3.14 equals diameter.

Hope this tutorial helps.

Till next time,

Jolie 

Author: crojocreates
 

Castiel Amigurumi Complete

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I’d like to present my completed Castiel Amigurumi, which was a Christmas gift for a friend. Main picture is on top, but details are under the cut. If you have any questions feel free to ask! I tend to get lengthy with my descriptions anyway! Fine print for materials and patterns are at the veeeeeery end for those crocheters out there.

Castiel was requested as a Christmas present when money was tight last year. However, in the end, I ended up purchasing 2-3 patterns trying to find the perfect one, and materials out the wazoo whenever I messed up. His final pattern takes small clues from ones I purchased, but in the end it’s totally mine.

First off, the box! 

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I had such grand ideas for something to put him in, but the problem was that Cas is too damn tall. He’s over a foot, juuuuuust tall enough to not fit into many of the scrap booking boxes I had in mind. I even had an awesome decoupage idea that backfired and…it still makes me mad.

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Oh hi there.

Cas comes without his trenchcoat on. I chose not to include his blazer to reduce bulkiness. 

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He stands with the aid of a doll stand. The bottom of his feet are reinforced with plastic sheeting, and he has floral wire in his arms to help keep his hands more flattened. They actually curve a bit more here, but I was too busy taking the coat on and off him for pictures.

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Elizabeth likes Cas’s new trenchcoat more than his old one (there’s only a top collar for this new one, for example) so I based this coat on that. Because his body tapers to be larger at the butt and arms (hurr durr!), it took me hours to come up with something that would fit him without looking boxy. I’m going to need to steal him back for a while to write down the pattern again. He’s standing at an angle here, but his coat tails ARE even, I promise!

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Cas’s eyes are regular safety eyes (although they were glued in) that are painted with nail polish and top coat. His hair is alpaca fur that I needle felted on bit by bit, and then styled with razor shears. It looks better in real life, and you can twist his hair up to make little soft spikes. His neck is a glue stick that I crocheted around and stuck through the body and the head.

Elizabeth didn’t want wings, but I couldn’t resist giving him SOME accessories. There are gifs of Misha Collins that have animated cat ears and a tail, so I went with that theme. 

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The tail is stuffed and has more floral wire, so it hooks into Cas’s pants under the trenchcoat. 

And then, finally:

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The ears are made from cocktail picks I bought a LONG time ago that were shaped like autumn leaves. I cut them down into smaller bits, crocheted the ears, super-glued the fronts to the picks, stuffed the backs to give them more shape, and sewed up the bottoms, folding in the front to make them more curved.

If you look hard enough you can find some of the stitches on his head that are free so you can:

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I passed him off to Elizabeth on Saturday morning. I drove up to Arlington so she could take him around the con.

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He was a LOT of work, and a LOT of pain and stress (haha!), but I definitely learned a lot from him and am sad to see him go.

If I had known what I was doing from the beginning and just worked straight through (as in, if I had an established pattern), I would have been able to finish him in under a week and for under $20 (I had the alpaca hair already). Because I had no idea what I was doing, he took about 6 months and I won’t even go into how much money. You can look back on this blog for his old progress pics of his predecessors for fun, though!

RESOURCES!

Two patterns I purchased but didn’t ultimately use were:

Tenth Doctor Amigurumi Pattern by Alice Hoffman (helped me understand trenchcoats and I used a modified version of her tie)

Huey the Cat by Sarah Sloyer (helped me with his general overall body shape and ears)

A complete list of all materials and tools I used:

  • Clover Crochet Hooks E,F
  • Etimo Tulip Crochet Hook E
  • Clover Needle Felting Pen
  • Sewing Kit (scissors, needle, threader)
  • Caron Simply Soft Solids Yarn in White, Tan (I think it’s called tan?), Peach, and Black
  • Paton’s Metallic in Blue Steel (for the tie)
  • Safety Eyes
  • Nail Polish and Top Coat
  • Alpaca Hair
  • Razor Shears
  • Plastic Sheeting
  • Floral Wire
  • Wire cutters
  • Gauze tape (to make the wire ends softer)
  • Stuffing
  • Buttons
  • Frustration
  • Blood
  • Caffeine
  • Cocktail picks
  • Superglue Gel
  • Scrapbooking Box
  • Acrylic Paint
  • Transfer Paper
 

Captain America Shield Pillow

Author: alaniablack

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The Fandom Knitting (and Crocheting!) Bee started yesterday, and I am underway on my Captain America Shield Pillow!

I have the kit here and ready to go – I’m using Rico Creative Cotton in cobalt blue, red and cream. My crochet hook is 4.5mm, and my gauge is 3 rounds to 4cm on the circle – everything here is in UK standard.

I originally designed this pattern to be a blanket. It’s fairly simple since I’m hardly experienced myself! This is in two parts – the shield and the star – which then overlap. It is a really adaptable pattern because of this, so if you want to use it, do a quick couple of adjustments to it and you’re good to go!

The Shield

Abbreviations

CO – cast on
SS – slip stitch
SC – single crochet
DC – double crochet
TC – treble crochet
CH – chain

This design is for a 40cm diameter pillow based on the above gauge (3 rounds to 4cm). If you want to adjust the size, it’s fairly easy. The blue in the middle is designed to be twice as wide from the centre as the red, white and red stripes, which should all be the same width, so make sure you do twice as many rounds of the blue as each of the other stripes.

To work out the correct numbers
By width
Choose overall width – make this a multiple of 10 and your gauge size, in my case 4cm (40cm). Divide by 2 (20cm). Convert to rounds by dividing by gauge size and multiplying by rounds (so, 20cm divided by 4cm gauge, multiplied by 3 rounds is 15 rounds total). Now divide the rounds by 5 (3 rounds). This is the number for the red, white and red rounds, multiply by two for the blue (6 rounds blue, 3 red, 3 white, 3 red).
By rounds
Choose overall rounds, remember this is based on width from centre to edge (if you just know how many rounds per coloured stripe, multiply by two for the blue round and you’re good to go!) – make it a multiple of 5. Divide by five for the red, white and red, multiply by two for the blue.

Pattern
CO and CH 4, SS to 1st stitch to make a ring.
CH 3 then do 11 TC into the ring, join with SS to the last stitch on the CH3.
CH 3 then TC into same stitch. Work 2 TC into each stitch, 24 total, SS to the last stitch on the CH3.
Pattern 1: CH 3, 2 TC in next stitch, *1 TC in next, 2 TC in next stitch. Repeat from *, SS final stitch to the CH3
Pattern 2: CH 3, 1 TC in next stitch, 2 TC in next stitch, *1 TC in next 2 stitches, 2 TC in next stitch. Repeat from *, SS final stitch to the CH3.

The pattern continues from here with the number of 1 TC to a stitch between the 2 TC stitches increasing to match the pattern number. So, Pattern 8 would be CH 3, 1 TC in next 8 stitches, 2 TC, 1 TC in next 8 stitches, and so on.

Change to red after 6 rounds blue, INCLUDING the first two that are not part of the pattern. Continue with 3 rounds red, 3 rounds white and 3 rounds red.

Author: alaniablack
 

Brooklyn Tweed: Knitting as a Fine Art

Author: issuu

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Brooklyn Tweed is a knitwear design and yarn company founded by Jared Flood, a blogger, designer and photographer from the Pacific Northwest. From its origins as a blog in 2005 to its founding in 2007, Brooklyn Tweed has emphasized the artistic side of knitting and sought to reconnect with America’s rich history of textile production. Through it all, Jared and Brooklyn Tweed have revived attention in knitting as a form of expression in both art and fashion.

What first got you thinking about yarn and knitting?

My interest in knitting evolved parallel to my studies of fine art in college at the University of Puget Sound and then my graduate work in painting and 2D media at the New York Academy of Art. At first, knitting was a side hobby to balance my heavy academic workload. I didn’t really connect this functional craft with the fine art I was studying and making. I studied abroad in Rome to more deeply explore art history, particularly the Renaissance and Baroque periods, and at that time I became obsessed with photography. I had access to a dark room during my residency there and worked hard to hone the craft, taking pictures of architecture, art, and people. All the while, I was also improving my knitting skills.

I moved to New York City in 2005, seeking inspiration from a vibrant new place. Without a social network or a job and trying to adapt to the chaos of summer in the city, I turned even more of my energies to knitting. When I did find a 9-5 job, knitting helped me cope with the commuting rat race in and out of Manhattan. I was mostly knitting for myself and felt the pickings were thin for fresh, modern men’s garment patterns. So I started figuring out how to bring my own ideas to life.

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What inspired you to start Brooklyn Tweed?

I started the Brooklyn Tweed blog in the hope of connecting with a community of creative people. It gave me an outlet for my knitting, design, and photography passions. At this point all of my “fine art” photography had been on film and my digital photos were just point and shoot, but in 2006 I purchased a DSLR camera and all three of those passions came together. I found I could make in-progress yarn and knitting projects the subject of still life photography, which I’d always been drawn to in studying art history and in my own work. My blog imagery improved greatly and a Brooklyn Tweed signature style began to emerge.

After two years, blog readership had increased dramatically and I was also beginning a career as a knitwear designer. That meant I needed models to show my work, and my interest in figurative photography was born. I started grad school to further my classical training in figurative media, but Brooklyn Tweed was taking on a life of its own at the same time. I finished my MFA and my first full design collection in the same year, and at that point I took the (then terrifying) leap to make Brooklyn Tweed my full-time job.

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I went to my first trade show (The National NeedleArts Association, or TNNA) in 2009 and was surprised to find that very little yarn was being made on U.S. soil with U.S.-sourced fiber, at least not on a commercial scale. I was also taken aback to learn that most yarn companies don’t have people who source and develop their own yarns with care—most of the yarn is pre-designed at mills overseas then sold to yarn companies “out of the box”. I realized the depth of my naiveté about the yarn I was buying and knitting. I felt compelled to investigate what it would take to source fiber, scour it, dye it, and spin it into yarn in this country. The storytelling aspect of art and craft has always intrigued me, and I loved the idea of developing an American yarn from the ground up and sharing the whole story with the end-user in mind. Being part of the blogging world and seeing the rise of the Buy Local movement convinced me that handknitters were hungry for a story like that. And launching a Brooklyn Tweed line of yarns felt personally inspiring as a source of subject matter to further my own art—doing photography, designing knitwear, and collaborating with other creative people.

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How did you find US-based locations to grow and produce your custom yarn?

I started with the mills. There are only a few functioning woolen mills surviving in the U.S. They were once the heart of industry in countless American towns, particularly in the Northeast, but cheaper goods began to flow in from overseas and the fashion for synthetic fibers put most of our mills out of business by the ’70s. I made an immediate connection with the people at the spinning mill in Harrisville, New Hampshire. They have a great story of their own—the mill district was preserved as a National Historic Landmark in 1971 and continues to operate to produce beautiful woolen goods and to educate visitors about the proud history of the mills—and their vision and values seemed right in line with my ideas for the Brooklyn Tweed yarn project.

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The Harrisville team introduced me to wool brokers in Wyoming, who in turn introduced me to ranchers growing the Targhee-Columbia wool I wanted to work with. I did further research to find the Bolman Company in Texas to scour the fleeces and to connect with J.G. Littlewood and Sons in Philadelphia, one of the only commercial fleece-dyers left in the country. We’ve now been working with these companies and with the same small group of Wyoming ranchers for three years to offer a medium-weight yarn called Shelter, and in 2011 we added a lighter weight called Loft.

How do you stay in touch with your fans all over the world?

Since Brooklyn Tweed began as a blog, connecting with knitters online has always been the essence of the brand’s existence. Social media has opened up new avenues for independent designers to sell directly to their customers without the mediation of a traditional publishing house. Ravelry, Facebook, Twitter, Instagram, Google+, and—very importantly—Issuu let us reach a global market. The world is clearly moving in the direction of digital media distribution and Brooklyn Tweed has committed to being a part of that. All of our content is digital, and that model has also allowed us to develop flexible models for fairly compensating the independent designers who work with us, which has always been a principle we’ve held deeply.

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How does Issuu help Brooklyn Tweed?

I chose Issuu because it’s a clean, elegant way to share digital content online. For each collection, we put together a look book, a digital magazine. I like that Issuu brings to mind the experience of flipping through a paper periodical and that its simple design is easy to use, both for me as I’m creating the content and for the reader. Issuu lets us roll out our design collections in a beautiful, juicy format that our customers happily anticipate poring over. It’s their first look at our new patterns and Issuu lets us tell a captivating story of knitting as fine art. When I’m putting together a look book, it means much more than launching a catalog of merchandise. I like to think of each garment as a work of art, and I get to be the curator. I get to do the photography of the finished pieces and savor the challenge of capturing two subjects—the model and the garment itself—and the relationship between them. The finished lookbook becomes my gallery space to tell the story of each piece and the collection as a whole.

Where do you see Brooklyn Tweed going in the future?

We want to continue to develop new yarns sourced and produced in the United States. I was not expecting the type of response we got to our first two yarns and have been working hard to keep up with that demand in the past there years. Making our products close to home is far from the “easy way” to do it, but we’re committed to helping support this historic industry and to giving knitters a product they can trace from the time it’s on the hoof to the moment it’s on their needles. We want to maintain high standards for quality and authenticity in those new products, and also in the company’s designs and in our interactions with professional creative people and customers.

I also hope to continue developing as a design house, pushing the boundaries of what people expect from the handknitting industry. Knitters have a built-in appreciation of “slow design”—even if they draw inspiration from the runway or street fashions of the moment, they’re still going to invest the time to make a garment with their own two hands, a pair of sticks, and a lot of string. I want Brooklyn Tweed to be a source that feeds their creative energy through thoughtful design with lasting appeal. Our garments should always be a pleasure to make as well as to wear because we’ve carefully considered the experience of the customer who’s working with our patterns and yarns. And I want to grow our community by finding new knitters who are looking for quality, transparency, fair practices, and a story that connects them to the products they use.

Most of all, I want to build a brand that feels authentic, that people will connect with. We are always trying to become better at everything we do while leaving the door open for new opportunities and inspirations that arise from our rapidly changing world.

See Brooklyn Tweed’s latest lookbook on Issuu, Wool People 7

Author: issuu
 

blocking

Author: kpcyarn

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I’m sure you have heard blocking mentioned somewhere in a pattern or blog post. So we thought we’d do a little tutorial explaining what blocking is, why you should do it and how.

Blocking is a technique used to set your knitting or crochet work with water. This can be by either spraying with a bottle, submerging (and thoroughly soaking through) in a tub of water or steam blocking. All of these technique will give the same results and everyone has their own chosen method. The main thing to remember is that blocking works best on natural fibers. 

I’m sure you’ve noticed that once you have finished a project, the piece can be a little uneven, maybe a little small and generally a bit rumpled. This is where blocking helps.

Blocking:

  • helps by relaxing and evening out your stitches
  • can help to increase the size of your project slightly
  • helps set the shape or size of your project. 

For spray blocking, you will need the following:

  • your finished project piece
  • a blocking mat, towel, bed or any flat space where you can lay and pin your piece
  • rust proof pins
  • a spray bottle with water

Step 1
Start by checking your pattern for the finished piece dimensions. This is what you should follow when blocking your piece. I will be working with granny squares since I am working on a blanket. The finished size should be 8 x 8cm.

Step 2

Lay your piece (I will refer to my squares from now on) on the surface of your choice. I will use a cutting mat. Laying the square in the corner of the mat on the ruler, place your first pin to secure the square in place. Next, gently stretch the square to reach the required dimension, in this case 8cm. Then place your next pin. Do this for all four corners. If you find that the sides are curving inwards or not staying in shape, insert additional pins, following the grid on the mat to keep the sides straight. 

Step 3

Using your spray bottle, saturated the blocks evenly making sure that you spray everywhere.

Step 4
Leave your pieces to dry thoroughly. I usually leave mine overnight. 

Step 5
Once dry, remove the pins and you are done! 

Remember to follow us on Instagram, Facebook and Pinterest for pattern ideas, how-to’s and inspirational posts.

And lastly, don’t forget that our yarn is also available online on our website and we ship internationally too!

Author: kpcyarn
 

::My Simple DIY Project – Arm Knitted Infinity Scarf::

I decided during my winter break from school to once again try my hands at knitting (pun intended). I learned many moons ago when my grandmother taught me between 7 or 10 years of age, but I have since forgotten. Any who I have had my eye on this infinity scarf for a minute. I wish I was able to take more photos but being attached to the yarn and not having my arms free made it difficult.

Here is what you will need:

I purchased 2 skeins of chunky yarn. In the video tutorial she doubled it up but I realized by doing this I didn’t have a large amount remaining for my scarf so I used a single strand and tied on at the ends.

This video where I learned is very simple. This can be done by anyone it’s so simple and you know I love simple!

Below is the brand of yarn purchased

One of the two skein 

Casted on 12 loops (can’t think of the correct name right now)

2nd right done

This is it stretched out on my love seat

I join the two ends together, turn it inside out and weave the left over string in between the holes which will create a seam. join the former working yarn and the tail and tie in a knot.

Final product. Very cute and there are several ways you can wear this too!

It is so warm I still have not taken it off!

Living Simplistically

 

A Sheep for Shearing (Fresh Designs Crochet: Toys)

Author: mkcarroll

Rachel Borello Carroll (no relation) designed A Sheep for Shearing for the Fresh Designs Crochet: Toys book, and it’s been a hit with kids and grownups! This big cuddly stuffy is crocheted with Imperial Yarn 100% wool yarns that are not dyed (the colors are the natural colors of the wool), from sustainably raised sheep in Oregon. You can substitute with a worsted weight yarn that has some bounce and resilience, such as Peace Fleece Worsted, Cascade Yarns Ecological Wool, Lion Brand Yarn Fishermen’s Wool, or Lion Brand Yarn Wool-Ease. 

A Sheep for Shearing is not only a sweet and woolly companion, but he also has an adorable function: his super thick and bobbly fleece is removable, allowing kids to “shear” him at will. At over a foot long from nose to tail, the sheep is a wonderful pal for cuddling up to, using as a pillow, or dragging along as a toy.

Required Skills 
Adjustable ring 
Basic embroidery (running stitch, whip stitch) 
Basic increases and decreases 
Basic sewing (seaming) 
Basic stitches (ch, sc, sl st) 
Crochet flat (back and forth) 
Crochet in the round 
Intermediate stitches (bobble)

Finished Measurements 
Height: 10” / 25.5cm 
Length: 16” / 40.5cm from nose to tail

Materials 
Imperial Yarn Columbia 100% wool; 220yds / 201m per 113g skein 
•MC Pearl Gray #02; 1 skein 
•CC2 Rich Soil Natural #05; 1 skein

Imperial Yarn Erin 100% wool; 245 yds / 224m per 113g skein 
•CC1 Natural #01; 2 skeins 
US size H/8 (5mm) crochet hook, or size needed to obtain gauge 
Polyester fiberfill 
Stitch marker (optional) 
Yarn needle

Gauge 
10 sts and 11 rows = 3” / 7.5cm in single crochet

Pattern Notes 
The sheep is worked in the round from the tip of the nose to the rump. The ears, tail, and legs are crocheted separately and sewn on, and the fleece is worked last. 

You can buy the single pattern as a PDF download for $5.00 on Ravelry, or buy the full e-book of 10 patterns for $9.95. 

A Sheep for Shearing crochet pattern PDF


Fresh Designs Crochet: Toys e-book (PDF)

Author: mkcarroll
 

‘The Knot’ (or ‘Why proper yarn management is important’)

Author: youtubeknits

For years, I’ve kept most of my yarn stash in a blanket box.

This worked fairly well for a while, but lately had become a bit of a mess. While the yarns had once been ordered,  the stash now roamed free, unencumbered by ideas of ‘order’,’organisation’ or ‘being able to actually find anything, ever’.

Yesterday, I decided that enough was enough. It was time to regain control.

I scooped the protesting yarns from the quagmire and began to organise them.

I reached back into the box, searching for the next yarn ball.. and that’s when I found it. The Knot. (Those of you with weak stomachs or nervous dispositions may wish to look away now).

Dear yarn manufacturers- I sincerely apologise for the horrendous abuse to which I subjected your fine products. Contrary to appearances, I am actually quite fond of yarn. It may comfort you to know that I was able to salvage almost all of this (after a lengthy tussle that left me shaken and covered in lint).

I resolved to never let this happen again, and rallied a small army of ziplock bags.

Once the yarns had been bagged and labelled, back into the blanket box they went.

Success! Knitters, don’t be like me. Avoid developing a Knot of your own. Organise your stash… before it’s too late.

Super Bonus material- other things I found hidden in the stash!

A small pile of patterns, two tape measures, a sticker, a bag of doll eyes, many stitch markers, a stitch holder, dpns, pipe cleaners and a lone yellow button. Not pictured- about 30 plastic bags and approximately 8 bajillion stray yarn labels. 

Also, the pile of misfit prototypes and abandoned projects. I’m not sure what I’m going to do with these. I’m thinking some sort of small fire. 

Author: youtubeknits
 

So I crocheted a

Author: twidlestick

So I crocheted a Karkat grub, and I think he came out pretty damn good.  Pattern is underneath, in case anyone else wants to make a wriggler of their own.

Body

Ch 2

Row 1: sc 6 in 1st ch (6)

Row 2: inc all around (12)

Row 3: sc 1, inc (18)

Row 4: sc 2, inc (24)

Row 5: sc 3, inc (30)

Row 6-11: sc 30 (30)

Row 12: dec all around (15)

Row 13: inc all around (30)

Row 14- 18: sc 30 (30)

Row 19: dec all around (15)

Row 20: inc all around (30)

Row 21-25: sc 30 (30)

Row 26: sc 3, dec (24)

Row 27: sc 2, dec (18)

Stuff

Row 28: sc 1, dec (12)

Row 29: dec all around (6)

Crochet closed

Head

Ch 2

Row 1: sc 6 (6)

Row 2: inc all around (12)

Row 3: sc 1, inc (18)

Row 4: sc 2, inc (24)

Row 5-10: sc 24 (24)

Embroider face

Row 11: sc 2 dec (18)

Row 12: sc 1, dec (12)

Stuff

Row 13: dec all around (6)

Crochet closed

 

Horns

Since Karkat has such nubby small horns, I just crocheted them right onto his head.  They’re just 2 sc right on his noggin, ch 1, turn, sc 1, ch 2 tie off each.  You could also make the horns separate and sew them on, which you might have to do for like, Tavros or Aradia or Eridan or something.  You’re on your own there for now though.

Hair

I find it best to add the hair after the face and horns, but before sewing it on to the body.  I put the hair in a little long to start, and then trim it later.  But then again, I’m not very good at hair, so do what works best for you.

Legs (make 6)

Ch 2

Row 1: sc 6 (6)

Row 2: inc all around (12)

Row 3-5: sc 12 (12)

Stuff

Row 6: dec all around (6)

Row 7-8: sc 6 (6)

Crochet closed

Now sew everything together.  If you did it right, you’re grubs should be able to sit up straight all on their own, as well as look good lying flat.  Enjoy your new cutie!

Author: twidlestick
 

Yarn in the Barn — Day 2

Author: kerriknits

Saturday was our Color Immersion project day at Yarn in the Barn. We each received a kit for Anne’s new Boilermaker pattern featuring Bare Naked Wools Confection Sport and Briar Rose Yarns Fourth of July. Our kits had Confection in Nougat and Milk Chocolate, and Fourth of July in a choice of four colors — green, blue, purple or red! I chose the red and got started on swatching to decide on my color progression.

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I quickly decided on a gradient progression, and ran over to the barn to grab a halfsie skein of Confection Sport in Dark Chocolate to complete my gradient. I love the effect.

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The great news is that Anne & David have put together kits for you to purchase, too! They are available in the online knitspot shop – definitely go check them out!

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What was so surprising about this class was how different everyone’s projects looked. There were 6 of us who chose red, but there wasn’t a single project that looked the same between us. It’s amazing how everything can vary so much! You can check out Anne’s blog post about it here — she has photos of a few of the red swatches together.

As I said earlier, I ran back out to the barn during class to pick up a few things from the Bare Naked Wools booth. I bought a halfsie skein of Confection Sport in Milk Chocolate for an upcoming design project, along with a few buttons and a new color card.

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It was great to sit down and work on the same project with other knitters, especially with Anne’s wisdom to guide us. We all had so much fun chatting together! If you are going to Rhinebeck this year, I know that Anne still has spots left in her color classes at the Rhinebeck After Party — check it out if you are interested in taking similar classes!

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Again, Chris was so generous and each class participant got to choose a special edition skein of Briar Rose Fibers. Here is mine — A perfect blend of fall colors that will turn into a lovely project someday.

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After class was over, I went over to a nearby park to get photos of my finished Baltic Amber Cowl sample. It was cold and drizzling a bit, but there were still beautiful things to see.

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I can’t leave you without a sneak peek at the new design — look for the pattern release later next week!

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I promised you all blocked swatches from Day 1 — I washed them on Wednesday evening, and they were dry this morning. There was even enough light to take photos! It’s amazing how much everything evened out with a quick soak. Messy fabric with curly edges turns into a structured, even surface with no curls in sight.

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And, I finished up my Boilermaker Cowl! Here it is drying on my blocking mat:

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The red did bleed a bit (as did the swatch, but not nearly as much), but I don’t mind the effect at all! I know that bleeding is always a risk in colorwork, especially with reds and darker colors. However, I was ok with the idea of the red turning the lighter colors just a bit pink. Indeed, the greys turned slightly warmer, and the nougat color took on a slight pink tinge. Just a little though – a whisper of color that really ties back into the deep red hems. I love it!

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Yarn in the Barn was such a fun experience, and I’d love to be able to do it again in the future. I learned so much, and I came home with some really nice souvenirs that will make beautiful projects.

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Not only was it a great weekend full of knitting, I was also able to visit one of my best friends! She now lives in the Grand Rapids area, so we spent one evening together as well as a nice brunch on Sunday before I hit the road back home.

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Well, I am on the road again this weekend, so I won’t be back on the blog until early next week. Enjoy a knitting filled autumn weekend, and get started on your own Boilermaker cowl projects!

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Author: kerriknits
 
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