KITCHEN TOOLS FROM ANOTHER WORLD
No, this alarming looking device is not a Vogon marital aid:
It’s a coconut reamer – the perfect tool needed to produce fluffy grated fresh coconut from a whole nut. Grated coconut is a common cooking ingredient, and the best is obtained by buying the coconuts and shredding them yourself. And if we choose to save the husks, I’m sure we’ll have enough to outfit an entire clip-clop cavalry detachment by the time we return home.
In knitting, Dragon Stole continues to grow:
You can make out the tail section in the center. Long time needlework pal Kathryn is probably right – the graphed pattern used in this MMario Knits design has a very Renaissance look, and resembles several patterns in the various editions of Siebmacher’s modelbooks. I’ve been through his 1597 pattern book on line, and didn’t find it, but recourse to my library is a bit constrained over here in India, so I am not giving up yet. (Aside: Kathryn provides a selection of the 1597 patterns in her collection Patterns from Renaissance Germany, available on Flowers of the Needle).
WHELK AND STOLEN DRAGON
The long flight overseas was not wasted. I managed to knit a hat during the trip. This is Le Bulot (The Whelk) by Kokolat de la Kokolatiere. I worked it up with some remnants, roughly less than half a skein each of charcoal color Regia Extra Twist Merino, and On-Line Supersocke 100 Harlekin Color for the multi.
I’m pleased with the result, but I can say that the pattern isn’t entirely straightforward. It took some deciphering, plus referring back and forth between the French original, the English translation, and the very informative pix of the finished item, but I got it all together in the end.
One thing that sped up production and minimized the number of things that could go sliding underneath my airplane seat – instead of using the slip one stitch to a cable needle and knit in front, I used a left twist stitch. When I got up to the part of the pattern that included decreases made at selected twists, I worked them by inserting the tip of my right hand needle into the backs of the second and third stitch from the end, knitting them together but leaving them on the right hand needle, then shimmying the right hand needle into position to knit the twisted stitch, and finally slipping the entire unit off the left hand needle. Oh, and while doing that I kept track of which color would follow in the logic of the row, and made sure that the decrease was worked with that one. Not particularly difficult, but not exactly mindless, either.
On the yarns, I’ve used the Supersocke many times before. It’s a standard issue self striping sock yarn, with an interesting mix of bright colors in a rather conservative small repeat. On socks, about four full repeats of the entire color sequence will occur in the foot part. I was less pleased with the Regia Extra Twist Merino. It’s nice and soft, and looks good when knit up, but for a sock weight yarn it splits like crazy. No word yet on durability, but I’ve knit a hat, admittedly not the most torturous use for the stuff.
I’ve finally unpacked my knitting and stitching stash. Working on my big green sampler right now will be problematic, though. I don’t have a good light for evening stitching, although I can haul a kitchen chair to the big windows and work on it during the day. I may ease my stitching withdrawal symptoms by working on a smaller in-hoop project. I brought some supplies and a kit with me, so I’m armed.
In the mean time, I’ve embarked on the MMario Knits Dragon Stole, an extended exercise in filet knitting.
I’d played with filet knitting before, but was not satisfied with the methods I had tried. MMario uses three worked rows per graphed chart line, and while not as teeny, nor as precisely geometric as filet crochet, works quite nicely. I’m hoping that I’ll be able to apply his method to my huge warehouse of Italian Renaissance graphed patterns and have some cross-pollination fun.
IN WHICH WE WANDER ABOUT
We’re still learning the ropes of our new adopted home, but we took off some time last week before Younger Daughter started school today to explore some of the sights of the Pune area. Thankfully, Elder Daughter was armed with her camera, because I’m pitiful at taking pictures.
On Wednesday we visited Parvati Darshan, a temple complex on a hill in the middle of the city. Structures at the complex date to the mid 1700s, and were constructed by the Peshwas, the royal rulers of the Maratha Empire, formerly centered in this area.
There was a small cultural museum at the base of the hill, displaying Peshwa dynasty artifacts, including weapons, portraits of the ruling line, coins, and everyday items. The climb to the 2,100 foot summit was a short uphill hike ascending wide ramps and stairs, with stonework to either side.
The Vishnu temple at the top is spectacular:
And the view of the surrounding city is also well worth the ascent, although I don’t have any snaps of that to hand.
With the quick climb behind us, our driver Rupesh suggested additional exercise – this time a hike up to Singhagad, one of the massive fortifications ringing the city. These forts also date back to the 1600s and 1700s. They changed hands many times and were the sites of historic battles, sieges, and massacres as the Maratha forces vied with the Mughals for control of the region.
Singahad Fort’s summit is over 4,300 feet – about 2,625 feet above the surrounding country, an imposing presence with a commanding view. To be entirely fair, we didn’t hike from the base. There was a twisty switchback road about 1.75 car-widths wide that took us most of the way. One side of the road was the cliff, the other a haphazardly defined margin of scrubby bushes, with a deadfall just beyond them. Since this was a two-way road with occasional bus traffic, it made the day all that more exciting. The last several hundred feet though was on foot, up another series of ramps and stairs, winding around the top of the hill.
The climb does not dissuade path-side snack sellers, who ply their trade at every landing and vista on the way up. The white city in the distance is Pune.
Around every breathless bend was another spectacular shot:
We went out touring again on Saturday. First we went to the Rajiv Gandhi Zoological Park. We went early, just as it opened. The morning was cool and breezy, and the zoo was quiet and shady, compared to the bustle of the streets. The larger animal exhibits are well spread out, and we enjoyed strolling along the zoo’s lanes to find them.
Having been warned, we avoided the thought of ruffling the tigers, guar, wolves, and hoofed stock. Snake hackling was also right out.
You’ll have to take our word for it though that we saw elephants, macaques, and cobras, too – but all were camera-shy.
After a pleasant morning strolling about, we went to another historical venue. This was a memorial to Shinde Chhatri, a heroic general of the Marathas, who served the Peshwas from 1760 to 1780. The building has been recently restored, inside and out.
The caretaker explained to us (as best he could) that the line of notables descended from the general and his family (the portraits lining the walls) persists to this day, and remains active in governance and politics.
Needless to say, I’ll be reading more about India’s pre-Colonial history, especially that of the Maratha Empire.
THERE (BUT NOT BACK AGAIN ANY TIME SOON)
We’ve made it to Pune!
The flight didn’t set any high bars for comfort or food – in fact the tastiest item served on both Virgin Atlantic flights was called GU.
It was a prepackaged chocolate/banana pudding thing, the only edible object on the tray. In general, Lufthansa should rejoice. Amenities were so poor on Virgin that the German carrier has been promoted out of my basement ranking for long haul fights.
But you aren’t reading this for airplane food rants. Not only are we here, but after two days of aggressive power napping interspersed with cleaning and unpacking, we’ve managed to achieve relative sentience and order. Proof of the unpacking:
Proof of relative sentience and a virtual apartment tour, not necessarily in that order. First, the kitchen, with the soon to be infamous Pigeon Porch at the right.
The living room, with legacy non-working TV left by the landlord:
A couple of offspring-infested bedrooms:
Younger daughter is already entertaining herself with the paint set she brought with her.
Elder daughter, doing what comes naturally. Note my knitting and stitching stash bin in the foreground, and yet another landlord abandoned dead TV in the background. Our bedroom is the same, a bed, a wardrobe wall that includes both hanging space and shelves behind wood and mirrored doors, and a king size bed. No student desk in ours, though.
The Resident Male needs to do a lot of work after hours, synching up with colleagues on US time, so we’ve turned the fourth bedroom into an office:
The office is off the entry vestibule, on the far side of the living room, so he can do phone meetings without disturbing the rest of us. I’ll spare you the pix of the dining room, in which I sit and type this; maid’s room, turned laundry room, with its curiously mobile washing machine and drying racks; and of all of the bathrooms. Every bedroom comes equipped with its own, with a separate one off the laundry room.
And finally – the view off the balconies:
There’s no road behind the building – just a strip of shrubby ground between us and the Indian Army’s athletic training facility. Most mornings there are groups of cadets out there doing dawn calisthenics. On a couple of mornings they’ve had loudspeaker music accompaniment. Other mornings a full military marching band has rehearsed, complete with bagpipes. I haven’t seen them yet, although we can definitely hear them. I suspect they are training on the field on the other side of the grandstand.
So there you have our post-settlement tour. We’re here, finally (mostly) adjusted to local time, feeling out local resources and schedules, and starting to branch out on adventures. More on those to come!
MOTLEY DONE!
And it’s snuggly!
Not only is Motley officially finished:
I’ve also posted a full pattern for it in the Knitting Patterns section, above. The pattern also includes directions for Hollow Point Edging – a new, quasi-original finish. Complete with a short-rowed turned corner, in both chart and prose.
How did the end of this project go? Quickly and not very quickly at the same time. Knitting this was a breeze. I cast on the week before Thanksgiving, and finished on Friday last, minus a week spent knitting fingerless gloves. That’s a rather large sofa throw in fingering weight in three weeks of evenings. BUT the last two days were a slog:
That’s one evening’s worth of orts from the Dreaded Darning In The Ends phase. No doubt about it – Motley had a lot of ends. I looked into various knit-in as you go methods, but I wasn’t convinced of their durability in a blanket, so I did it the hard way. Still, I had nowhere near as many ends as the look of the blanket presents. Remember, most of my yarns were leftovers from self-stripers. That means color changes without ends. A joy!
One last note – although I usually block my finished pieces, I did NOT block Motley. The reason I didn’t is because of the wide variety of yarn densities and gauges used. I was afraid that while everything is nice and flat now, if I were to block the thing, each fragment would behave differently, leading to cupping, sagging, or differential stretch. So I punted and let it it sit, as is.
I do hope that someone else attempts this one. It’s fast, it’s fun, and if you use up that dratted bag of leftovers that’s taking up space in the back of your closet – it’s practically free.
ROUND THE CORNER
You guessed it! More Motley:
The framing in charcoal is now complete, and I’m more than half way done with the edging. I looked through all the books that I haven’t shipped ahead, and various on-line sources, hunting for an edging that looked right. I wanted something not too lacy, with design elements that echoed the zig-zag of the center, but that was not just a duplicate of that simple point pattern. I didn’t find anything I liked in particular, so I tossed all of it into my cranial Cuisinart, and came up with my own. It’s very simple, and likely as not, I’m not the first to hit on it. Still, I like the look, and it’s quick to knit. Two evenings has marched me around almost three sides. Eventually I’ll be posting the pattern for this, including how to miter it for a neat 90-degree corner.
I’m happy with how Motely is turning out. It has a certain folkloric, rustic look. I’m sure however that I’ll think less of it once I begin working in all those ends.
On the Knowledge Base and Beginners
I’ve been having an enjoyable comments-chat with Nila. She asked a couple of questions I answered in my last post, then she posted a hint of her own. She was surprised that as a (relative) beginner, she could add onto the common knowledge pile. I think she needn’t be surprised.
Knitting, like many crafts, is simultaneously ancient and evolving. Bright people take up needles and learn. Some, infested with the how-why bug, look at their lessons with fresh perspectives, and bring insights of their own. Yes, sometimes in a limited environment their insights are rediscoveries, but that does not make those insights less valuable.
A hundred years ago, grafting sock toes was a revolutionary new technique. As late as 60 years ago slip-slip-knit instead of K1-slip one- pass slip stitch over was not universally known (reading lace instructions from books printed before the 50s turns up far more of the latter than the former). Using two circulars as giant DPNs and the using one giant circular (aka Magic Loop) are relatively new tricks, gaining wide popularity only in the last 12 years or so.
We have inherited a huge, shared tool chest of techniques, from anonymous and named innovators over the past 500 or so years of knitting history. But that doesn’t mean that the inherited ways are the ONLY ways or the ONLY CORRECT ways to produce pieces.
My point is even in a limited craft like knitting, there is a wealth of alternatives that can be pursued, and even today, a steady stream of healthy innovation. There are only so many ways to form a flat sequential multiple loop based fabric, and only so many ways to manipulate or deform stitches, yet even within those bounds, EVERYONE – beginner, intermediate, or advanced knitter – has the potential to have that flash of insight, to see some new technique or method; one that saves time, effort, money, or aggravation, or that leads to a new method of expression. Beginners can bring unspoiled eyes to annoyances more experienced knitters take in stride. More advanced knitters can blend techniques and come up with alternate ways to get things done. And everyone can cross-pollinate – bringing in inspiration, methods, and concepts from experiences outside the world of knitting.
I encourage you to try something new, to think on other or better ways to do something, or to add to your own personal toolsets with the goal of gaining inspiration through broadening your own skills. You never know – an “Aha! moment” could strike at any time, and the next inventor could well be you!
FRAMED
More progress on Motley. I am almost three quarters of the way done with the framing element. In this case, a Regia sock yarn in a deep charcoal grey.
I’m still on the first 50g ball of Regia, and you can just make out what has not yet been knit in the upper right of the photo (click on it to enlarge).
After this comes the multicolor edging, probably a plain saw-tooth, about as deep as the strips are wide. I’ll have to play around and see what looks best.
I’m flying by the seat of my pants here, and explaining exactly how I’m working the corners and filling in the edge triangles will be a challenge. When I post the final write-up of this project it will be more of a method description than a finished full pattern with explicit directions, quantities and the like.
Questions from the Mailbag
Nili asked a couple of thought provoking questions on my post about the difference blocking made in my Lattice Wingspan project. First she asked:
I bought some inexpensive acrylic yarn to play around with and am knitting a good sized sample of feather and fan stitch. If I keep going it could be a scarf. My question is, is there any value to blocking synthetic yarn? Will it respond to the blocking?
I attempt to answer.
There are as many answers to the question of blocking acrylic as there are types of acrylic yarns, multiplied by the uses to which it is put, and squared by the number of knitters, worldwide.
First, on fiber types:
Wools and high-wool-content blends have the memory/bounce-back property. The fibers have a natural elasticity and respond to changes in tensile stress and to a lesser extent, humidity. They return to their cozy, unstretched state upon washing (more or less). This is also what keeps the elasticity longer in ribbings knit from high content wool. Other protein fibers also display the stretch and bounce back property, although many are not as elastic as wool. Silk is the exception in that it doesn’t stretch very well.
Most acrylics on the other hand, do not have the same stretch and bounce back properties as wool and high-wool content blends. They can be stretched, but once set that way under heat and tension (aka “killed”), they will never return to their original shape. There are exceptions. High tech man made fibers are invented every day, and many acrylics contain a modicum of something elastic to keep ribbings true and offer a more “wool-like” experience.
Cottons, linens, ramie and other plant-derived fibers behave differently, with different shrinkage properties and performance characteristics under blocking.
Next, on blocking methods:
There are a zillion ways to block. Wet, dry, under tension vs. gentle pat out, with and without steam, and so on. Different methods are better suited for different fibers, or different uses. For example, the wet-block high tension set up used for lace to spread it out is not appropriate for a dense, cable knit sweater. A pat to measurements and non-contact steaming to relax it might be perfect for that Aran knit in wool.
What blocking does:
It evens out stitches, reduces (but does not totally eliminate) curl. It makes edges lay flatter and seaming easier. It coaxes the piece into the shape desired, although it cannot correct major size or proportion problems.
If a wash/wet block method is used, it removes hand grime any residual spinning oils from the yarn, and casual dirt from the piece. In general, it yields a more professional final appearance, and removes some of that “loving hands at home” look.
To answer in specific – blocking a lace scarf knit from acrylic:
How I’d proceed would depend on the acrylic I was using. You’re lucky because a lace scarf doesn’t need to end up being the exact dimensions that a garment body might require.
The best advice is to knit a small swatch that uses both the cast-on and cast off of your final project, and test out your method. You may find that damp block with blocking wires and pins, using non-contact steaming (an iron set to low heat) spreads out the lace and fixes it in that shape. Or you may find that doing so stretches the lace body a tremendous amount relative to the cast-on and cast-off edges, which end up looking cupped and puckered.
I’d probably attempt some sort of blocking on the thing, knowing that even if the ends puckered oddly, there are fall back positions. The most aggressive (and for knitters, controversial) way to fix that problem would be to toss the thing on a sewing machine and run three or four lines of machine stitching across the end, just before the cast-on or cast-off row. Then (horror of horrors) cut off the puckered end. The raw edge will be secured by the stitching, and can be made neater with a row of encapsulating crochet, or used as a base for fringe, or a knit-on edging.
Also what type of cast on creates a soft, loose base? I’ve found stretchy ones suitable for ribbing but I’m looking for one suitable for lace. I tried long tail with a larger needle as well as spacing the stitches out wider on the needle. It’s still pretty firm. What can I use instead?
I attempt to answer Nila’s second question without resorting to another indeterminate diatribe.
Lace cast-ons can be problematic. As you note many are too tight or are not stretchy enough for the wide spread of lace, or for the aggressive blocking that makes it look best. There are many simple and exotic cast-ons that can be used for knit from end to end lace. There’s another bunch that are great for center-out motif lace, but that’s for another post.
In general, for lace garments, the stretchy cast-ons are usually enough, especially when they are worked with a needle two or three sizes larger than the needle size that will be used for the bulk of the lace. But for things like shawls and scarves which are blocked until they scream, even a stretchy start is often not enough.
Simple lace cast-ons:
I won’t get into the really exotic methods, because most of the time the simple ones outlined here work well enough for me and my projects.
I usually work some sort of provisional cast-on because most of my scarf and shawl pieces are finished with an applied edging, which is quite easy to knit onto the loops that result when the initial edge is released from its provisional mooring. My favorite provisional start is crocheting on, which is easy to zip out for remounting the stitches on a new needle.
On the rare occasion when I want the edge to stand alone, and I need extra stretch, I will work the same crochet-on cast-cast on, but using a hook closer in size to my working knitting needle, AND working a crochet chain stitch BETWEEN each stitch mounted onto my knitting needle.
Another method I use is a variant of the cable cast-on. For this one I also use a knitting needle two sizes larger than my lace needle. Put a slip knot on the left hand needle. Insert the right hand needle into that stitch and draw a loop through it. Slide the new loop onto the end of the needle and before you snick the yarn up tight, insert the right hand needle into the new loop. Repeat drawing a new loop through the new stitch until you have enough stitches on the needle. If you were to insert the needle tip in between the old stitch and the new stitch, you’d be doing the classic cable cast-on – aka “knitting on”, but by making the new stitch in the loop of the previous one, you make a more airy and more stretchy edge.
Finally, on occasion the most convenient method for starting narrow lace pieces is the simplest one of all – the half hitch cast-on (aka “Looping On” or “Backward Loop Cast-On”). It’s the stretchiest of all, and can be made even more so by using a larger needle. It does however produce a very flimsy edge. I use it when I cast on stitches for a lace edging, when I intend on working the edging completely around something (scarf, baby blanket, etc.), and plan on joining my final row to my first row via grafting. Yes, I could use a provisional cast-on for this and end up grafting onto live stitches, but there are usually very few stitches at the start point of a narrow band of edging, and doing so wouldn’t be worth the effort. One caution on this – the stitches in the next row coming back HAVE to be regular knits or if they are purls, they need to be worked through the back of the loop. Otherwise the half hitches will collapse.
To sum up:
Lace cast-ons are largely a matter of personal preference. There is no one perfect method for every piece in every yarn. Knitters being passionate people, will each advocate their own favorite, and armed as they are with pointy objects – can be formidable in their discourse. The answer here is the same as every other answer in knitting. Give it a try, make a swatch and abuse it. See how you like the method for the piece at hand, with your chosen material. Preferences are as situational as they are personal, and there is no single correct answer.
STILL AMBITIOUS
Motley continues to grow. I’m just about done with the center area now:
Some people have expressed incredulity that I’d consider working fingering weight on US #8s (5mm). However it’s working out just fine for this purpose. This is a blanket, not a sock that benefits from tight knitting, nor is it a garment on which a looser fabric would present show-through problems. Instead, even with the large needle size, thanks in part to garter stitch, I’m getting a nice, cozy and cushy thermal weave texture.
However the main reason I chose such a large needle size relative to the yarn is because I’m using up dribs and drabs of yarns in a variety of weights, from light 3-ply fingering like ancient Kroy 3-Ply and Wildfoote, to standard sock yarns (Regia, Opal, Fortissima) all the way through some of the heavier sock yarns that are almost sport weight (Marathon, Koigu). I even have a couple of small ends of lofty DKs that knit down to sport gauge. That means that the “native gauges” of the yarns in this piece range from about 32 to 24 stitches in 4 inches (10cm). Breaking the rules and working them all on what normally would be grossly large needles evens out differences in gauge and lets me use them all together. Yes, some of the stripes are denser (or more airy) than others. But they all present as uniform in width, and as a whole – work together.
I’ve got to finish out the current stripe (at far left) and add another at far right. Then I’ll be up to the next step – filling in the edge triangles left and right to achieve a nice, even rectangle.
There are two methods I could use to do this – either pick up one stitch and knit an isosceles triangle, joining the two shorter sides to the existing blanket, using the same method I employed to knit each strip onto the growing whole; or I could pick up stitches along the edge of each “zig” and knit out, using a center double decrease to achieve the triangle shape. I’ll probably experiment with both, although I am leaning to the first method for visual congruence with the rest of the piece.
Once I’ve filled in the edge triangles, I’ll probably work a narrow solid color strip all the way around the outside, using mitered corners, to unite the piece. After that all bets are off. I might stop there, or I might add some sort of zig-zag or dagged edging, also worked in multicolors. There’s only one problem though. I started with a bag of leftovers that was about the same size as half a standard pillowcase. I’ve used most of them, and don’t have a nice range of colors left. If I do a multicolor edging, I’ll have to BUY yarn to complete my stash-consuming Motley!
Whichever methods of framing and finishing off this piece I choose, I will be writing this up as a method description, complete with approximate square yardage per weight estimates (for fingering) so that those of us who happen to have a bag of leftovers the size of a 25-pound turkey can put them to good use on their own stash-busting scrap blanket.
GAUNTLET IS CAST
Two pairs, actually. Now winging their way cross country to the recipients:
Both are from patterns available on Ravelry. Left are Susie Roger’s Reading Mitts, and at right are Swirling Gauntlets by Susanna IC. Both are knit from Red Heart Shimmer, one skein of which (plus four evenings) was more than enough for both mini-projects.
I mailed these on Monday, but I’m posting this ahead so that the package has time to arrive without totally spoiling the surprise! Shh!
MORE MOTLEY, MUFFATTEES, MODIFICATION AND MUTT
Back from visiting Florida, my mom and sister (plus her family). We had a great time, feted like royalty on progress. Special thanks to all, especially my mom, and to Chef Terry who pulled out all the stops for the holiday meal.
Motley
Sitting and chatting with mom did allow Motley to grow. In order to keep color distribution even, I have been adding to both ends:
I’ve got some snippets of hers now in there, too. I’m about two thirds of the way through the center rectangle, and am very pleased at how it’s turning out.
Muffattees (Fingerless Mittens)
Also, while we were there my two nieces expressed a desire for fingerless mittens. I’m not quite sure why they’d need such a thing in Florida, but teenage fashion whims (when reasonable) can be indulged. Especially when they are a quick knit.
For the first pair, I’m using the Reading Mitts pattern from Susie Rogers, available on Ravelry:
I’m about a third of the way through the other mitt of this pair. I’m still looking for a slightly different but equally interesting design for pair #2. Although I love luxe yarns, I’m no materials snob. The yarn for this one quite humble. It’s a very soft Red Heart acrylic worsted with a subtle shiny mylar thread running through it. Called Shimmer, it does, just a tiny bit, and has a very pleasing almost cashmere-like softness, which will feel nice on the hands. I chose a washable yarn because even in black, mitts get dirty quickly. The yarn is a bit splitty, but I’m happy with the result.
For the pattern, I knit the smallest size. With this yarn on US #5s, it’s plenty big enough (the medium was too big for me and I’ve got gorilla paws). The only modification I did to the pattern was to use a provisional cast-on, then knit the cast on stitches along with the live stitches to fuse the picot hem, just before the decrease row that sets count for the cuff pattern. That ended up adding one row of width to the edging before the first purl row of the cuff. Not noticeable. Also users should note that the lace pattern is set up for an even number of stitches, but two of the three sizes as presented yield an odd number in circumference after the decrease row. Just ignore the extra stitch and work it plain – on this item no one will ever notice. Finally, the method for picking up the thumb benefits from casting on two rather than one stitch on the side facing the mitt’s body. Even so, I advise leaving a nice long tail when you join the yarn to make the thumb. The excess will come in handy to close up the rather large gap at the “thumb crotch”.
This pattern is a sweet little project for a last-minute gift. Mitt #1 took two evenings. Mitt #2 bodes to take less, in part because I don’t need to start, then rip back the medium size.
Modifications – Vintage Yarn Chart Rehab
I know that lots of folks who visit here are looking for my chart of vintage needle sizes, historical yarns as plotted against gauge and modern needle sizes (with a few modern yarn recommendations). That chart was ported over in the Great Blog Migration, but arrived in less than readable condition. I’ve ironed it out now. To minimize confusion, I’ve modded the original post from 2005, rather than reproduce it here. But I’m opening it up again for additions. If you run across a pre 1930s pattern that calls for a specific yarn and vintage needle size, and you have made a successful modern substitution, toss a comment onto that page listing the original needle size and yarn specified, plus your modern substitutions. I’ll add them to that chart.
Mutt
Apologies for calling my mom’s companion, Honeybun, a mutt. Mom would classify her as a “designer dog” – a mix of Maltese and Yorkshire Terrier, sometimes referred to as a Mookie. But I needed the alliteration, and as long as I toss the toy or scratch behind the ears, I don’t think Honeybun would mind:
She’s a cute little bundle of fluff, and a very good apartment pal.
String-Or-Nothing 