Interweave Crochet Blog
Sunday, March 23, 2008
How to Crochet a Three-Color Spiral
In this issue's Yarn Spotlight I wrote about crocheted spirals. At the end of this post you can see the hat I mentioned, which I crocheted from one skein of Noro Matsuri yarn, drawing from both ends of the self-striping skein to produce a two-color spiral.
But first, as promised in my column, I'll explain how to make a three-color spiral, which simply builds on what I wrote about two-color spirals. The result of this tutorial is Swatch D as shown on page 7 of the magazine, shown in Classic Elite Soft Linen yarn. I worked each color in a different stitch, to vary the height of each round.
Form an adjustable ring by looping the end of A behind itself; hold the end against the loop and insert the hook in the center of the ring.
Round 1: With A, ch 1, (sc, hdc, dc) in ring, remove hook from loop (pull loop long so stitches don't unravel); join B to ring and ch 1, (sc, 2 hdc) in ring, remove hook from loop; join C to ring and ch 1, 3 sc in ring, place marker in last stitch to mark the end of the round—9 stitches. (Do not remove your hook from C at this time; I did that just to take the photo, below.)
Round 1
Pull the yarn tail to tighten the ring. (The arrow in this photo indicates the yarn tail; you don't need to pull it to the right, per se. I find that holding the first round stitches in one hand and pulling down on the tail works best.)
Round 2: Continuing with C, [2 sc in next stitch] 3 times, remove hook from loop and reinsert in loop of A; with A, [2 dc in next stitch] 3 times, remove hook from loop and reinsert in loop of B; with B, [2 hdc in next stitch] 3 times—18 stitches. Note that a pattern has been set up: You will always work C into A, A into B, and B into C. It is very useful to mark the last stitch of the round, because the end is actually in the middle of a section of a particular colour.
Round 2
Round 3: Continuing with B, [hdc in next stitch, 2 hdc in next stitch] 3 times; with C, [sc in next stitch, 2 sc in next stitch] 3 times; with A, [dc in next stitch, 2 dc in next stitch] 3 times—27 stitches.
Round 4: Continuing with A, [dc in each of next 2 stitches, 2 dc in next stitch] 3 times; with B, [hdc in each of next 2 stitches, 2 hdc in next stitch] 3 times; with C, [sc in each of next 2 stitches, 2 sc in next stitch] 3 times—36 stitches.
Continue as established, increasing by nine stitches evenly on each round (three increases in each color) until desired size. Fasten off each color. To make a hat or a bowl, stop increasing and work even to desired size.
And here is the one-skein hat. It's a great way to make the most of an odd ball of striping yarn.
But first, as promised in my column, I'll explain how to make a three-color spiral, which simply builds on what I wrote about two-color spirals. The result of this tutorial is Swatch D as shown on page 7 of the magazine, shown in Classic Elite Soft Linen yarn. I worked each color in a different stitch, to vary the height of each round.
Form an adjustable ring by looping the end of A behind itself; hold the end against the loop and insert the hook in the center of the ring.
Round 1: With A, ch 1, (sc, hdc, dc) in ring, remove hook from loop (pull loop long so stitches don't unravel); join B to ring and ch 1, (sc, 2 hdc) in ring, remove hook from loop; join C to ring and ch 1, 3 sc in ring, place marker in last stitch to mark the end of the round—9 stitches. (Do not remove your hook from C at this time; I did that just to take the photo, below.)
Round 1
Pull the yarn tail to tighten the ring. (The arrow in this photo indicates the yarn tail; you don't need to pull it to the right, per se. I find that holding the first round stitches in one hand and pulling down on the tail works best.)
Round 2: Continuing with C, [2 sc in next stitch] 3 times, remove hook from loop and reinsert in loop of A; with A, [2 dc in next stitch] 3 times, remove hook from loop and reinsert in loop of B; with B, [2 hdc in next stitch] 3 times—18 stitches. Note that a pattern has been set up: You will always work C into A, A into B, and B into C. It is very useful to mark the last stitch of the round, because the end is actually in the middle of a section of a particular colour.
Round 2
Round 3: Continuing with B, [hdc in next stitch, 2 hdc in next stitch] 3 times; with C, [sc in next stitch, 2 sc in next stitch] 3 times; with A, [dc in next stitch, 2 dc in next stitch] 3 times—27 stitches.
Round 4: Continuing with A, [dc in each of next 2 stitches, 2 dc in next stitch] 3 times; with B, [hdc in each of next 2 stitches, 2 hdc in next stitch] 3 times; with C, [sc in each of next 2 stitches, 2 sc in next stitch] 3 times—36 stitches.
Continue as established, increasing by nine stitches evenly on each round (three increases in each color) until desired size. Fasten off each color. To make a hat or a bowl, stop increasing and work even to desired size.
And here is the one-skein hat. It's a great way to make the most of an odd ball of striping yarn.
Labels: crocheted hat, spirals, Yarn Spotlight
Thursday, March 20, 2008
Interviewed: YarnThing Podcast
Tags: YarnThing, podcast, interview
Tuesday, March 11, 2008
Behind the Scenes of the Spring 2008 Photo Shoot
Did you see that the preview of our Spring 2008 issue has gone live? The issue will hit newsstands on April 1st.
Now that the cat's out of the bag about the issue, I thought I'd blog about our photo shoot and how one of the most important aspects of the magazine comes together. I believe I've mentioned before that the photo shoot is one of my favourite times during the months-long production of an issue. It's when the projects come alive, and when the whole visual tone of the issue is set.
We held the shoot in Vancouver, BC, during the third week of December. Although Vancouver's climate is mild and we rarely get snow, it does stay fairly grey, dark, and wet for most of the winter. It was an exciting challenge to shoot for spring during the darkest week of the year.
On the first day of the shoot I forgot to take out my camera even once. So I'll skip to day two. We started indoors. While the model had her hair and makeup done, assistant editor Toni sat in for her so the photographer could set up her lighting. [Click for larger photos.]
You'll notice that in the preview photos, the model isn't wearing the shirt she's wearing below. We were all in love with this shiny taupe top, but it didn't allow the Tunisian Lace Ascot to shine, so we switched to a matte white cardigan that did its job beautifully. The photo stylist came with several possible outfits for each piece in the shoot to allow for that kind of flexibility. Until we see the piece on the model in the proper setting, we can't be sure the planned outfit will be perfect.
When we were finished shooting the ascot, it was finally light enough to head back to the beach for a springlike setting. (We shot the Geometry Dress and the Raspberry and Lime Purse at the beach the day before. The photo of the dress you see on the preview page is the very first shot we took. Even after shivering her way through that half-hour, the model told us she wanted to learn how to crochet so she could make a dress for herself.) After starting at the water's edge, we decided to move under a tree to shoot the Woodsland Tunic. And thus the name of the garment was born.
Next came the Tolmie Cardi Vest, which we shot only a couple hundred yards from the big tree. Matin, our amazing stylist, was a perfectionist about every detail.
After warming up during lunch, we headed to Quince Fine Florals—our last location, and one perfect for spring.
While Pamela and her assistant set up the lights, Matin and Toni made sure the model's skirt fit perfectly under the China Doll tunic.
We had a great time with the Kathryn in Beauly Dress and Bonnet. If you look closely when the issue comes out, you'll be able to find Sally the sock monkey in a few photographs in the issue. I made her a couple of years ago and thought she'd add some whimsy to the shoot.
We made sure either to move or avoid the Christmas decorations in the shop. I simply adore the classic femininity of the 30th Street Station Skirt.
We planned for the simplest photo to be last, and boy, were we mistaken. We tried every which way to style the Dots Blanket so its playful beauty would shine, and in the end we pulled in a model. It's amazing how much more alive the blanket looks when it's properly covering someone up.
Thanks for indulging my memories of a fun shoot. Have questions? Leave us a comment!
Now that the cat's out of the bag about the issue, I thought I'd blog about our photo shoot and how one of the most important aspects of the magazine comes together. I believe I've mentioned before that the photo shoot is one of my favourite times during the months-long production of an issue. It's when the projects come alive, and when the whole visual tone of the issue is set.
We held the shoot in Vancouver, BC, during the third week of December. Although Vancouver's climate is mild and we rarely get snow, it does stay fairly grey, dark, and wet for most of the winter. It was an exciting challenge to shoot for spring during the darkest week of the year.
On the first day of the shoot I forgot to take out my camera even once. So I'll skip to day two. We started indoors. While the model had her hair and makeup done, assistant editor Toni sat in for her so the photographer could set up her lighting. [Click for larger photos.]
You'll notice that in the preview photos, the model isn't wearing the shirt she's wearing below. We were all in love with this shiny taupe top, but it didn't allow the Tunisian Lace Ascot to shine, so we switched to a matte white cardigan that did its job beautifully. The photo stylist came with several possible outfits for each piece in the shoot to allow for that kind of flexibility. Until we see the piece on the model in the proper setting, we can't be sure the planned outfit will be perfect.
When we were finished shooting the ascot, it was finally light enough to head back to the beach for a springlike setting. (We shot the Geometry Dress and the Raspberry and Lime Purse at the beach the day before. The photo of the dress you see on the preview page is the very first shot we took. Even after shivering her way through that half-hour, the model told us she wanted to learn how to crochet so she could make a dress for herself.) After starting at the water's edge, we decided to move under a tree to shoot the Woodsland Tunic. And thus the name of the garment was born.
Next came the Tolmie Cardi Vest, which we shot only a couple hundred yards from the big tree. Matin, our amazing stylist, was a perfectionist about every detail.
After warming up during lunch, we headed to Quince Fine Florals—our last location, and one perfect for spring.
While Pamela and her assistant set up the lights, Matin and Toni made sure the model's skirt fit perfectly under the China Doll tunic.
We had a great time with the Kathryn in Beauly Dress and Bonnet. If you look closely when the issue comes out, you'll be able to find Sally the sock monkey in a few photographs in the issue. I made her a couple of years ago and thought she'd add some whimsy to the shoot.
We made sure either to move or avoid the Christmas decorations in the shop. I simply adore the classic femininity of the 30th Street Station Skirt.
We planned for the simplest photo to be last, and boy, were we mistaken. We tried every which way to style the Dots Blanket so its playful beauty would shine, and in the end we pulled in a model. It's amazing how much more alive the blanket looks when it's properly covering someone up.
Thanks for indulging my memories of a fun shoot. Have questions? Leave us a comment!
Labels: Photo Shoot, Spring2008
Sunday, March 9, 2008
Babette Blanket: Anatomy of a Square
A few weeks ago when I attended the Knit Out & Crochet at the Mall of America, I prepared a demo on how to make the solid double-crochet granny squares used in Kathy Merrick's Babette Blanket. It's quite common for folks to be a bit confused when starting out on this stunning blanket. With Kathy's blessing, I prepared a brief post about the anatomy of the square. If it doesn't answer all of your questions, post a comment and I'll do my best to explain further. At right are two of the squares I've made for my own blanket; it's my occasional lazy weekend project, and as such will likely take me a couple of years to finish.All squares of the blanket, small or large, are made the same way. To begin, chain 4. The whole first round of the square is worked in the fourth chain; the chain grows to accommodate all the stitches. At the end of the round, slip stitch in the top of the beginning chain to join (the first 3 chains count as the first dc of the round). The first round sets the groundwork for the rest of the square: You set up four straight edges and four corners. (Where I've circled the corner, below, the ch-2 for that corner is covered by the orange stitches of the next row.)
In Round 2, you begin with ch 3 in the middle of the first straight edge. I made the beginning chain in orange to highlight it. Then you make a dc in each dc from the previous round. In the ch-2 space at each corner, you work a corner group of (2 dc, ch 2, 2 dc). Each corner group increases the stitch count by 4 and sets up the ch-2 space for the next round's corner. I made each corner group in orange, too.
Each subsequent round is worked the same way.
Labels: babette blanket, granny square, how-to
Monday, November 26, 2007
Behind the Scenes of the Winter 2007 Photo Shoot
Back in early September, I kept my camera at my side during our two-day photo shoot for the Winter 2007 issue that's soon to hit stands and mailboxes. I thought maybe you'd like a behind-the-scenes look at the event that so significantly shapes an issue of the magazine.
We were on location in a small town in Northern California, right near the beach with nothing much else around. Of course, we were shooting for the winter season, so we didn't really spend time at the beach. Bummer.
Present and accounted for were, in addition to me and the models: Toni, assistant editor; Betsy, photo stylist; Kathryn, photographer; and Kira, hair and makeup artist. We pretty much worked from dawn to dusk each day, taking advantage of the best outdoor light and choosing indoor locations to maximize the good light shining through the windows.
[Note: Click an image to see a larger version in a new window.]
Each model had her hair and makeup done for every item she modeled. Usually, this meant that while one item was being shot, another two were being prepared. Left: Preparing to model the Hot Cross Slouch Beret. Right: Last-minute touch-ups before shooting the Northern Bloom Pullover.
Before the photographer started shooting, the stylist made sure everything was in perfect order. Left: Making sure the feather-light Web Motif Shawl is laying nicely. Right: I had a ton of fun watching the Pure Poinsettia Tunic being shot; it's such a dynamic piece.
To make sure the model and item were in good light, Toni often was enlisted to position reflectors to make the most of the natural light. Left: A gold or silver metallic finish on the reflector creates a warm or cool light, respectively. Right: Our cover model, wearing the Wild Rose Shawl, was hilarious; she kept us doubled over laughing for most of the shoot.
And then the shooting: Kathryn makes her magic. Left: Shooting the Ozark Handspun Bobble Scarf. Right: Toni took an opportunity to see the shot from Kathryn's angle.
I've posted a few other photos, too.
Anything you'd like to know about the shoot? Ask away!
We were on location in a small town in Northern California, right near the beach with nothing much else around. Of course, we were shooting for the winter season, so we didn't really spend time at the beach. Bummer.
Present and accounted for were, in addition to me and the models: Toni, assistant editor; Betsy, photo stylist; Kathryn, photographer; and Kira, hair and makeup artist. We pretty much worked from dawn to dusk each day, taking advantage of the best outdoor light and choosing indoor locations to maximize the good light shining through the windows.
[Note: Click an image to see a larger version in a new window.]
Each model had her hair and makeup done for every item she modeled. Usually, this meant that while one item was being shot, another two were being prepared. Left: Preparing to model the Hot Cross Slouch Beret. Right: Last-minute touch-ups before shooting the Northern Bloom Pullover.
Before the photographer started shooting, the stylist made sure everything was in perfect order. Left: Making sure the feather-light Web Motif Shawl is laying nicely. Right: I had a ton of fun watching the Pure Poinsettia Tunic being shot; it's such a dynamic piece.
To make sure the model and item were in good light, Toni often was enlisted to position reflectors to make the most of the natural light. Left: A gold or silver metallic finish on the reflector creates a warm or cool light, respectively. Right: Our cover model, wearing the Wild Rose Shawl, was hilarious; she kept us doubled over laughing for most of the shoot.
And then the shooting: Kathryn makes her magic. Left: Shooting the Ozark Handspun Bobble Scarf. Right: Toni took an opportunity to see the shot from Kathryn's angle.
I've posted a few other photos, too.
Anything you'd like to know about the shoot? Ask away!
Labels: Photo Shoot, Winter 2007
Tuesday, September 18, 2007
Another Warm Welcome
With many thanks to Kat and the Interweave Web Team, I welcome you to the Interweave Crochet blog! I look forward to keeping in closer touch with you than our quarterly magazine publication allows, and to learning more about you and what you love about crochet. Assistant editor Toni Rexroat will also be dropping by the blog every so often; I'm certain you'll enjoy getting to know her.
One of the things I'm most excited about is sharing news and features with you here that we can't fit into our limited number of print pages. I'll dive right into just that.
One of my favourite parts of putting together an issue of Interweave Crochet is preparing my Yarn Spotlight. I get to unplug for a while and play with delicious yarn. I could only fit three swatches into my spotlight from the fall issue, but I actually made six in my exploration of variegated yarns. I used Lorna's Laces Shepherd Worsted yarn and a 5mm hook for each swatch (click images for larger versions).
Swatch #4: Here's a classic granny square, one of my current obsessions. Just like in the French Square swatch in the fall issue of the magazine, the positive and negative space in the square allows the bold colours to breathe and breaks up any pooling effects that might be tempted to pop up.
Swatch #5: This swatch is a simple 5-chain mesh. I had a tough time getting it to lay flat and even in my scanner, but I think this image tells its tale. Like the granny square, the positive and negative space allow the bold colours to breathe. Maybe its the wonkiness of the mesh, though, but I prefer the uniformity of the granny square. In swatch form, that is. But imagine this mesh used in a garment -- I think it would be pretty spectacular, and surprisingly subtle.
Swatch #6: This one is plain-old single crochet. Here's that dread pooling effect, and not in a cool pattern like the diamonds that developed in my granite stitch swatch in the magazine. I don't mind it so much in this small swatch, but I think I'd start to mind if it were a larger project. I do love, however, how the small stitches create an almost pointillism effect. The swatch almost looks painted.
I very much enjoyed this Yarn Spotlight, and I'm excited about working on my piece for the winter 2007 issue in the next week or two (hint: my stomach is grumbling). What do you think? Do these swatches make you see variegated yarns in a new light?
Have you ever picked up an odd ball of variegated yarn without knowing what you'd do with it? How did you approach it? Did you swatch like mad like I did, or did you dive right in? Were you surprised by the way the colours behaved? Leave a comment* and let us all know.
* We are terribly excited about the interactivity this blog will allow us to enter into with you. We will read every comment you make, but unfortunately we won't be able to answer them all. We'll do our best to chime in within the comments section so all readers can read our responses.
One of the things I'm most excited about is sharing news and features with you here that we can't fit into our limited number of print pages. I'll dive right into just that.
One of my favourite parts of putting together an issue of Interweave Crochet is preparing my Yarn Spotlight. I get to unplug for a while and play with delicious yarn. I could only fit three swatches into my spotlight from the fall issue, but I actually made six in my exploration of variegated yarns. I used Lorna's Laces Shepherd Worsted yarn and a 5mm hook for each swatch (click images for larger versions).
Swatch #4: Here's a classic granny square, one of my current obsessions. Just like in the French Square swatch in the fall issue of the magazine, the positive and negative space in the square allows the bold colours to breathe and breaks up any pooling effects that might be tempted to pop up.
Swatch #5: This swatch is a simple 5-chain mesh. I had a tough time getting it to lay flat and even in my scanner, but I think this image tells its tale. Like the granny square, the positive and negative space allow the bold colours to breathe. Maybe its the wonkiness of the mesh, though, but I prefer the uniformity of the granny square. In swatch form, that is. But imagine this mesh used in a garment -- I think it would be pretty spectacular, and surprisingly subtle.
Swatch #6: This one is plain-old single crochet. Here's that dread pooling effect, and not in a cool pattern like the diamonds that developed in my granite stitch swatch in the magazine. I don't mind it so much in this small swatch, but I think I'd start to mind if it were a larger project. I do love, however, how the small stitches create an almost pointillism effect. The swatch almost looks painted.
I very much enjoyed this Yarn Spotlight, and I'm excited about working on my piece for the winter 2007 issue in the next week or two (hint: my stomach is grumbling). What do you think? Do these swatches make you see variegated yarns in a new light?
Have you ever picked up an odd ball of variegated yarn without knowing what you'd do with it? How did you approach it? Did you swatch like mad like I did, or did you dive right in? Were you surprised by the way the colours behaved? Leave a comment* and let us all know.
* We are terribly excited about the interactivity this blog will allow us to enter into with you. We will read every comment you make, but unfortunately we won't be able to answer them all. We'll do our best to chime in within the comments section so all readers can read our responses.
Labels: Fall 2007, Yarn Spotlight
Wednesday, September 12, 2007
Welcome to Interweave Crochet
Welcome to the new Interweave Crochet! Our site officially launches September 18, but as a web designer that needs to test everything, I've taken it upon myself to give you a little preview of Kim Werker's editorial letter from her first issue of Interweave Crochet, which hits newsstands on, yes, September 18!
Don't be suprised to see this little post disappear!
Cheers, and enjoy!
Kat... IWP web chick
Fall has always been my favorite season. Despite the growing chill and increasingly barren trees, I find it fresh and inviting--a new beginning, even more than spring. In many ways, it seems as if crochet itself is experiencing a rebirth. But as a look into crochet's past reveals the passion for innovation that today's crocheters express isn't entirely novel, even though its scope has broadened dramatically in the last few decades.
Looking ahead, I'm giddy to see where crochet will go in the near future, and I'm excited to travel around North America this fall, teaching about crochet, visiting local yarn stores, and meeting crocheters from all walks of life.
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