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Indie Road

DAYZE

January 2018 indieroad.com.au


ASHFORD WHEELS & LOOMS

For all your spinning wheels, weaving looms, carders, textile equipment and supplies

Blending Board Create beautiful rolags for spinning or felting. 30x30cm.

Standard Carder

Wide Carder

Versatile and flexible. 20cm width. Choose 36, 72 or 120 point cloth.

Massive 30cm width, produces 100gm batt.

Kiwi 2

Joy 2

Traveller

Simple, smooth and easy to use. Excellent value!

So portable and light.

Small and beautiful. Choose single or double drive.

Choose single or double treadle. Carry bag included.

SampleIt Loom

>> Knitters Loom

Learn new techniques and sample wonderful yarns. Built-in second heddle.

Ultra portable, lightweight Rigid Heddle loom.

25cm width. Loom stand available.

Choose 30, 50 or 70cm weaving widths. Carry bag and stand available.

Just add yarn!

Fold and go with weaving in place

<< Rigid Heddle Loom Affordable and versatile, so easy and quick to warp and weave. Choose 40, 60, 80 or 120cm width. Loom stand available.

<< Folding Table Loom Weave traditional and modern patterns to create your own original fabrics. Choose 40, 60 or 80cm width, 4 or 8 shafts or 60cm - 16 shafts. Loom stand available. spinning

New stockist enquiries welcome Australia 1 800 653 397 New Zealand 0508 459 459 To locate your local stockist visit our website www.ashford.co.nz

The Wheel Magazine Ashford’s annual fibrecraft magazine. Spinning, weaving, felting, dyeing and knitting projects, patterns and articles from around the world. Don’t miss out! Subscribe at: www.ashford.co.nz/subscribe

felting

weaving

knitting

dyeing

ASHFORD’S FIBRECRAFT MAGAZINE – NEW ZEALAND ISSUE 27 2015 NZ $10 US $7 AUS $9 GBP £4 YEN ¥765 EURO €6

Katniss Cowl Blending Board

Magic

SUPER Rug

GREAT NEW PRODUCTS AND PATTERNS INSIDE

www.ashfordclub.co.nz

Ashford Wheels & Looms 1


EDITOR IN CHIEF Gaille Smith EDITOR Sam Buckingham TECHNICAL EDITOR Abbey Bongers PROOF READER Robynn Ross GRAPHIC DESIGNER Patrizia Tresca The Huntd Creative

PHOTOGRAPHY Ellie Bobilain Feature photography shot on location at Dee Why Beach, NSW, Australia. All enquiries for submissions and marketing can be directed to Editor in Chief, PO Box 278, Lindfield, NSW, 2070, Australia. Indie Road is an independent magazine printed in Australia. Our submissions come with a signed guarantee they are original content, and they have secured permission to use any content that is not wholly their own. indieroad.com.au

Indie Road


COMFORT IN A HUGADOLLY HUGA DOLLIES When love is all you need. P 19 RECIPE Apple Spice Muffins P 22 TUTORIAL Popcorn Stitch by Abbey Bongers P 23 NATURAL DYEING With NZ Flax by Robynn-El Ross P 27 STORE SPOTLIGHT Crumbz Craft

A TRIBE OF FIBRE ARTISANS Welcome from the Editors’ P 05 IN THE SPOTLIGHT With Meg Gadsbey yarn dyer and scarf maker. P 07 YARN WANDERLUST New Zealand’s South Island Yarn Tour 2017 P 13

P 31


4 Inside Magazine

TINKER WITH YARN TO KNIT OR CROCHET? To Knit or Crochet? This is the question. P 35 HAND DYEING There is something extra satisfying about dyeing your own fibre. P 39 FIBRE TALK The Cloverleaf Story from sheep to fleece P 43 SEA SHELL SKIRT By Jodie Booth P 47 QUEEN MABIâ&#x20AC;&#x2122;S CROWN By Mel Harrison P 49 SLOUCHY BEANIE By Abbey Bongers (Abbeymade) P 51 CROCHET PLAYSUIT By Mel Harrison P 53 MACRAME PENDANT LIGHT By Joanne Geaney - Chunky Knits P 55 MODERN MACRAME NECKLACE By Ally Horneman P 57 STITCH GLOSSARY P 59


5

From The Editor

A TRIBE OF FIBRE ARTISANS GAILLE

Editor-in-Chief

Welcome to Indie Road! We are a tribe of writers, editors, designers and merry makers, striving to bring patterns, tutorials, featured artisans, shops and more to your doorstep. Indie Road is designed with you in mind where you are invited and encouraged to immerse yourself in fibre heaven. We entice you to step away from the endless circle of a technically fuelled life, sit back, relax and enjoy the journey. You might find something in common with our featured designer Meg Gadsbey, or maybe you might find yourself passing through the Yarra Valley in Victoria where we know Kay from Crumbz Craft will be waiting. Indie Road’s mission is to find out the latest news in the fibre industry, bringing everything from the land to your hands. We would love you to share with us what is happening in your local area so we can help to support and promote our Australian growers and business owners. What’s exciting is the inclusion of a simple and tasty recipe with ingredients from our local farmers’ markets. We encourage you to visit and support these markets, just as much as we ask you to support the local retailers who bring you the yarn you yearn for. We also welcome our DAL (dye-a-long). Simply subscribe for your mystery DAL box on our website indieroad.com.au and you will receive wool, dyes, gloves and instructions on what we will be dyeing that month! Enjoy Indie Road!


6 Pop goes the cork as we launch the very first edition of Indie Road. We are immensely proud to be an Australian owned, globally focused magazine aimed at providing a platform for the collective interests of crafters and fibre artists. My name is Sam Buckingham, Editor. I have stood beside Gaille Smith (Editor-in-Chief) and shared her journey into the world of fibre art. The necessity to relinquish the Popcorn brand has brought about Indie Road - a name that aptly represents this individual magazine and the creative road travelled by those invested in their art of choice. For most people, it is a lifetime of passion that finds them on this road. For others, it is a new interest or hobby. Regardless of where you sit with your art, Indie Road is for everyone. I honour Indie Roadâ&#x20AC;&#x2122;s passion in providing a platform that gives a voice to the achievements of fibre artists and crafters. These arts have traditionally sat quietly in the landscape of art and design worldwide. Indie Road aims to gather a collective voice that can echo the beauty in our raw materials, the timelessness of fibres and their value to this industry. If I had to choose one word to describe the purpose and vision behind Indie Road, it would be passion. We share a passion for community, a passion for collaboration and a passion for the recognition of the finer fibre arts and crafts.

SAM

Editor

I encourage you to share your experiences, creations and ideas and to support others in sharing theirs. It is a place after all, to come home to, to be inspired and renewed. We welcome you to Indie Road,

From The Editor

A COLLECTIVE VOICE THAT CAN ECHO THE BEAUTY IN OUR RAW MATERIALS.


8

In The Spotlight

WITH MEG GADSBEY

I

f Meg had a super power, it would be the ability to fly over beautiful landscapes. As a Scots-Australian now living in and working from a Sydney apartment, she is entranced by her view over the rooftops towards the city. The play of light, the bustle of the workers at her doorstep and the “nature fix”gained by walking through the Domain, the Art Gallery and her favourite Royal Botanic Gardens, all influence her designs and her yarn dyeing. Simple elegance is Meg’s style. Being the yarn dyer behind AtelierYarn (a small scale independent hand dyed yarn business), while promoting and designing her own selfpublished patterns, Meg exudes a quality of calmness and gentility. Every time we meet, I marvel at the way she manages to toss one of her designer pieces around her shoulders till it settles perfectly for another unique look. Like a work of art, your gaze shifts from the framed face to the little details of her chosen shawl with bands of garter stitch delineating a textured rib, or little mesh sections giving her knitting an ethereal

quality. There is air and life and warmth in her shawls, qualities that underline why her designs are so popular. (For a spinner or spindler, Meg’s patterns are perfectly suited as her stitch combinations highlight the yarn and 100g will go a long way!) Knitting was a normal part of Meg’s life. Growing up in Australia and returning to Scotland when she was thirteen, Meg recalls seeing both Scottish grandmothers knit at social or family gatherings. Her mum taught her to knit as a child and there were many trips to ‘buy wool’ and hours spent looking through knitting patterns. Meg regrets that she took all of their hand-knitted jumpers and cardigans for granted when she was little, as she was unaware of the love and work involved. Her mum also loved redecorating their home, so Meg was often surrounded by paint charts and wallpaper samples. This Scottish heritage and memories of living there, influence her work. She still misses the ‘light nights’ during summer, and the fact that she only had to drive a short distance from most towns to be in the middle of beautiful landscapes and scenery.


9

In The Spotlight

Delving into the history of the Shetland wool industry during a trip back home in 2014 for Shetland Wool Week, Meg was inspired to add to her design collection. She understands that the way this industry evolved and the relevance it shares today with contemporary knitwear designers, remains a key to success. All her life Meg has enjoyed wandering through art galleries, reading art books and communing with nature. After working with pastels and acrylics for a while, she became dissatisfied with the lack of enjoyment. To soothe her craving for colour and artistic expression, she experimented with dyeing yarn. This evolved into later setting herself a personal goal to design her own knitted accessories. It seems odd that, after being ensconced within a knitting family and community in both countries, that Meg did not pick up her knitting needles as an adult until 2011. A change of continent must have caused a shift in her creativity, as she began to knit her own ideas and challenge herself to independently publish her designs on Ravelry, a knit and crochet website. She also hand dyes yarn and sells her skeins online through Etsy. Often ideas come to Meg when she is doing something mindless, like walking to the supermarket. She carries pen and paper plus knitting tools wherever she goes, in order to play

with an idea the moment she gets it. People who get involved with art and creative pursuits love to get lost in their work and Meg is no exception. When the result of that creativity is a finished tangible design, it brings her great satisfaction. The challenge to see how the arrangement of stitch patterns and shape work with the yarn she uses, is a great motivator. With a new design, Meg aims to showcase the yarn and see it through to the final published pattern. To create something that is wearable yet also beautiful, feminine, utilitarian or stylish (depending on the design) makes her happy. Meg prefers to incorporate texture and stitch definition, often with a repetition of stitch pattern to create an interesting fabric. Her use of lacy prettiness and romantic softness is evident in every design. Meg enjoys the work of knitwear designers who create beautiful pieces that can be worn every day, such as Melanie Berg, Joji Locatelli, Helga Isager and the design team at Brooklyn Tweed. She likes to think that people can look at her designs and think, “I like that. I could knit that.” Her patterns are straightforward, well written and easily accessed, making an easy connection between knitter and designer. “The Big Blue” was Meg’s initial foray into design. It has the same style she enjoys today with an interesting wearable shape, simple construction


10

KNITTING PAT T E R N S ravelry.com/designers/meg-gadsbey Atelier Yarn | atelieryarn.etsy.com @meggadsbey | @atelier_yarn meggadsbeydesigns | atelieryarn

and stitch texture. She is also particularly proud of “Midnight in Sydney” which features a garter stitch body with a Shetland lace edge. This shawl is feminine and soft yet can be worn with a tee and jeans. This style epitomizes Meg’s dress – wear a basic outfit and team it with one of her gorgeous shawls or wraps to create a new look with minimum fuss. Always on the lookout for the next vibrant stitch pattern, Meg tends to work on three designs at one time. Her drive to create the next design is fuelled by the desire to be professional and consistent with her design practice by publishing knitting patterns on a regular basis. The most challenging aspect of her work is translating the finished shawl design into a written pattern ready for publication. Meg has worked with great tech editors and taken a tech editing course herself which has helped her understand the language of pattern writing. Learning how to create charts, draw schematics and edit photos was a steep learning curve, but part of the professional process. Currently Meg is exploring some interesting stitch patterns with her own hand dyed yarn while designing a couple of shawls with Atelier Summit, a beautiful silk merino yarn. In the near future, she wants to create designs using plant fibres such as linen, hemp and cotton. Meg is happiest with yarn and needles plus a great internet connection! As a designer, she sees her role in society as a facilitator or evoker of emotion, even if it is just a fleeting or momentary flash of joy. Simply by wearing her shawls and explaining the construction to interested knitters, Meg has shared the excitement. I watch as Meg unravels the shawl she has worn today, explains a detail to an avid listener and flings it around her shoulders again, albeit in a different way. The ends hang in a different spot, the pattern repeat sits on itself and another new look is born.

Article by ROBYNN-EL ROSS

In The Spotlight

MEG BRINGS LIFE & WARMTH INTO HER SHAWLS


DESIGNER

PAT T E R N

DESCRIPTION

Keep your little princess cool in summer with this adorable playsuit with matching princess tiara.


CROCHET CROWN Designer | Mel Harrison Pattern | Page 49


14 Travel Article

NEW ZEALAND’S SOUTH ISLAND YARN TOUR, 2017

“Join the Travelling Yarn Tours” read the ad, so I visited creativeincentives.com.au and perused pictures of women alighting from a helicopter, before being photographed knitting their latest project against a background of snow topped mountains and azure skies. That got me in. Imagine packing a bag for eight days (leaving room for the required stash additions), knowing you were going to meet a new bunch of woolly minded friends, travel with your own fabulous guide and tour operator, stay at the finest accommodation and eat local fresh produce at brilliant restaurants. To top this off, imagine attending multiple workshops involving wool from ethically produced farms and being gifted with continual surprises and delights from your hostess. This was the experience of travelling the South Island of New Zealand from Christchurch to Queenstown with Gaille on her Yarn Tour, including workshops, historic walks, shopping opportunities and plenty of time for independent sightseeing. A visit to Deb, owner and founder of Outlaw Yarn (outlawyarn.com), whetted our appetites for the sheer luxury and purity of colour available from New Zealand wool production. Her Bohemia Worsted is a blend of polwarth, alpaca and possum, thick and glorious for knitting. The Tannery, an old building revamped as a shopping arcade with many exclusive outlets, houses a community run gallery with handmade, high quality woollen goods for sale. Behind this shop is the meeting place for the Christchurch Spinners and Weavers and we were invited to join them and talk wheels, fibre, current tools and projects. We saw a “hammer wheel” being operated by a lady of European heritage who really knew what she was doing.


Join us on our 2018 rambles:Tasmania June 2018 * Victoria July 2018 over 30 stopovers discounts & prizes galore tours & dinners fun & entertaining

Book here www.yarntrail.com.au


Visiting Ashfords at Ashburton was a highlight. As owner / operator of Ashford Craft Shop (ashfordcraftshop.co.nz), Nicola prepared two days of knitting and dyeing workshops. We dyed a scarf and a pair of sock blanks in gradating colours to be later unravelled and knitted in a completely different shaped scarf and pair of socks to ensure each finished garment is completely unique. The tour of the factory with David was amazing and we had to keep our hands in our pockets while walking through the warehouse of goods ready for sale. Stargazing opportunities and walking tours at Lake Tekapo, Omarama and

START SAVING, TREAT YOURSELF AND JOIN A YARN TOUR .

Wanaka preceded an “extreme knitting experience” with Plump & Co. where metre long 45mm diameter wooden knitting needles had to be balanced on your body to manipulate the 1kg bump of merino. Marnie at Touch Yarns in Central Otego, uses superfine kid mohair, merino and polwarth wools to produce their range of knitting and weaving yarns in timeless colourways. A workshop in natural dyeing using flax leaves showed us the different coloured results on various wools and we were each given the skein of merino/possum, boucle, or unspun fleece that we dyed. As tourists at Arrowtown, we visited the heritage Chinese gold settlement with a similar history to our own goldfields and helped the economy at The Stitching Post. Being part of a small tour group offers some marvellous opportunities. On our final evening in the “Land of the long white cloud”, champagne on the steamship T.S.S. Earnslaw while sailing Lake Wakatipu, led to a dinner fit for royalty at Walters Peak. This was a working sheep station, now function centre that showcases New Zealand’s wool industry. Even though we kept alert for hobbits in the snow and dragon footprints on the mountainside, our tour group had eight days of happy experiences learning, doing, spending, eating, sightseeing, workshopping and enjoying leisure time with lots of camaraderie in New Zealand’s South Island. We returned home with bonus woolly goodies of the highest quality, projects to complete, our own personal shopping finds and new ideas to try. Start saving, treat yourself and join a Yarn Tour. We highly recommend New Zealand as a place to indulge your finest woolly fantasies! Thanks to Peppers Retreats, Hotels and Resorts, Copthorne Hotel and Resort Queenstown Lakefront and the homestay with Ashford’s Craft Shop and our lovely hosts for our workshops, tours and endless opportunities.

16 Travel Article

Touring Christchurch and listening to the stories of complete devastation with so many lives and homes lost, was humbling. Some buildings have been saved but stabilised, while many others are waiting to be knocked down. Vacant lots in the city and cleared land where suburbs used to be on its perimeter (and can never be built upon again), reveal the massive job ahead of the people, even after six years of cleaning up.


17

S LO U C H Y BEANIE Designer | Abbey Bongers (Abbeymade) Pattern | Page 51


DESIGNER

PAT T E R N

DESCRIPTION

A modern take on a traditional art form... knot your way to this boho inspired necklace.


20 Hugadoliies

BY ROBYNN - EL ROSS

T

he Hugadolly range provides unique gifts for special people who may need a bit of extra love at a particular time. That is why a smiling little friend who can accompany you to places, sit in your car or on your bed to remind you that someone out there loves you, is much better for the soul. Four arms give you extra hugs and love, while knitted wings can send you wishes. Designer Robynn-El Ross has a Mini-Me Hugadolly that travels everywhere with her and is a great conversation starter on trips and at guild meetings. She is dressed like her and has the same hairstyle. Why not make yourself a Mini You! Hugadollies are not specifically designed as a knitted toy or doll for a child, however kids do love them! Robynn happily sews on button embellishments, ties, laces or ribbons. Polyester stuffing is used, so hand washing can be achieved if necessary. (Your Hugadolly may be much loved or have a preference for outdoor activities.) When you make your own Hugadolly, it will be an original creation. Every Hugadolly Robynn has made is unique in dress, colour and features. She uses pure wool for all her knitting, except for the novelty fibre hair.

shaped feet with ankles and contoured hands. Clothes are knitted as a body part, except for the vampire collar and the wings that need to be sewn on. Robynn has included many alternatives to make your Hugadolly unique such as boots, boot toppers, shoes, socks, leggings, jeans, overlay skirt, shorts, bare midriff, belt, leotard look, short sleeved top, long sleeved shirt, collar, sleeve bands, armbands, bangle, gloves and wings. This equates to over 2,000 different Hugadollies that are possible from these inclusions. With clothing and colour choice, you can give a style – Goth, punk, nerd or monster. The materials list is easily found in any crafter’s room: DPNs (small straight needles are better for doll making), 8 ply wool of assorted colours, stuffing, cotton and needle to sew any embellishments, wild fibre for hair and a tapestry needle. Mainly Robynn uses a scrap of wool for each eye but glued on eyes work well too. Knitting the eyes and mouth while doing the face is easier. The nose is made from a tail end of a knitted ear after attachment to the head. The hair is latch hooked onto the head where a fringe can be fashioned if desired. Hair length is your choice.

Hugadollies are 30cm (12”) tall, with nine separate body parts, excluding wings – one body with attached head, two ears, two legs with feet and four arms with hands. Hugadollies have

Read the pattern first, look at your wool and choose the attributes you want your Hugadolly to have. Is it a Goth or a ballerina? See where the colour changes need to be made on your main body pieces as stated in the Clothes / Accessories section.

PATTERN Available on Ravelry | Robynn-El

@Robynn-El

@ robynnelstudio@


21

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22 Recipe

Conventional Method 1. Preheat oven to 180 °C. Line muffin trays with 20 muffin cups and divide the apple evenly among them. Set aside. 2. Whisk egg whites with electric mixer until stiff peaks form, then set aside. 3. Mix together remaining ingredients. BY

J OA N N A W H I T TO N QUIRKY COOKING

G R A I N , G L U T E N & DA I RY F R E E

Makes 20

Ingredients - 320g almond meal (blanched for lighter cupcakes)

- 6 eggs, separated - ½ tsp. fine sea salt - ½ tsp. bicarbonate soda - ½ tsp. nutmeg - 2 tsp. cinnamon, plus extra for sprinkling on top - 80g soft butter or coconut oil - 80g honey, or to taste - 1 cup chopped steamed apple

4. Add 1/3 beaten egg whites and mix through to loosen. 5.Add remaining egg whites and fold through carefully. Spoon the mixture into cupcake cases until they are half full. 6. Sprinkle cinnamon over muffins and place in oven. Bake 15-18 minutes, or until a skewer inserted in the centre of the muffins comes out clean.

2. I nsert butterfly whisk. Place egg whites into bowl and whip 3-4 minutes / speed 4, with MC removed, or until stiff. Transfer into a separate bowl and set aside. Remove butterfly whisk. 3. P  lace almond meal, egg yolks, salt, bicarbonate of soda, cinnamon, nutmeg, butter or coconut oil and honey into mixing bowl and mix 30 seconds /speed 6. Scrape down sides of bowl with a spatula. 5. S  poon 1/3 of the egg white mixture into the bowl and mix 15 seconds / speed 5 to loosen batter. Transfer to a large bowl and set aside. 6. C  arefully fold remaining egg whites into batter, folding gently until completely combined.

Thermomix Method 1. Preheat oven to 180°C. Line muffin trays with 20 muffin cups and divide the apple evenly among them. Set aside.

7. S  prinkle cinnamon over muffins and place in oven. Bake 15-18 minutes, or until a skewer inserted in the centre of the muffins comes out clean.

Storage Store at room temperature in an airtight container for up to 3 days, or freeze for up to 3 months. They thaw out beautifully in the oven at 180°C for about 15 mins.

Variation Blueberry Muffins: Instead of the chopped apple, add 1 punnet of blueberries (or 150g frozen) to the batter and fold through after egg whites are added.


C. 23 Tutorial

A.

D.

B.

E.


24 Tutorial

STITCH BY ABBEY BONGERS (Abbeymade)

There are quite a few ways to incorporate popcorn stitches into crochet. Popcorns can be big or small, incorporated into mesh or solid pieces of crochet, used as features or for an entire project. Popcorns are different to bobbles or clusters. Both are worked into the one stitch space but they are finished differently. A bobble is when the first half of several double crochet are worked, leaving multiple loops on the hook which are worked off at once. Popcorns are made using complete double crochet stitches that are then grouped together at the top. Popcorns are more puffy than bobbles, so they stand out more. This tutorial teaches the actual basic stitch. It assumes knowledge of chain stitches (ch) and double crochet (dc - US terminology).

BASE Chain any number of stitches in a multiple of 3 plus 1, plus an extra 3 chains to count as the first dc. Note that the base can be anything from chain stitches to a block of any crochet stitch. BEGINNING POPCORN (BEG PC) Used as the first popcorn in a row of popcorns. First 3 chains count as the first dc. Dc into 4th ch from hook 4 times. Loosen the working loop and remove hook (a), insert hook into the top of the first dc (the last ch), reinsert the hook into the working loop (b) and pull through tightly (c). If working a whole row of popcorns, it helps to have some space between them and therefore something to work into on the row above it - such as more popcorns! Adding 3 chains between each popcorn and skipping 3 chains from the base row will give this spacing effect (d & e). SUBSEQUENT POPCORNS (PC) Dc into the same base stitch 5 times. Loosen the working loop and remove hook. Insert hook into the top of the first dc (the last ch), reinsert the hook into the working loop and pull through tightly.


DESIGNER

PAT T E R N

DESCRIPTION

She sells sea shells by the sea shore.


M AC R A M E P E N DA N T L I G H T Designer | Joanne Geaney from Chunky Knits Pattern | Page 55


27 PHOTO. Fibres hanging to dry after the flax dyeing process is complete.


28 Natural Dyeing

DYEING WITH NZ FLAX By Robynn-El Ross

D

yeing your own wool does not have to be embarked upon by a person with a courageous spirit and an arts degree. As long as you can scrounge some basic equipment, raw product and a few handfuls of botanical matter, you are ready for a dyeing adventure. If you have never dyed wool using commercial dyes or have never experimented with bush flowers or natural dyes, read on to be inspired.

- Cheesecloth or muslin bag that can be closed properly

Marnie from Touch Yarns is an expert dyer who uses both commercial and natural dyes to teach her craft. For our workshop session, she chose flax flowers to be the dye source and had a hank of fibre prepared for each of us. The goal was for us to see how one dye pot could result in various colour tones, dependent upon the fibre used.

- Your chosen botanical find (Marnie chose NZ flax flowers for our session)

THE REQUIRED EQUIPMENT LIST IS SIMPLE: -L  arge metal container able to hold 20L of boiling water attached to heating apparatus such as a gas bottle - Rubber gloves for safety

- Wooden spoon stirrer - Empty bucket - Half a cup of white vinegar for the mordant - Access to a sink or exterior water source and a hanging rod for drying EVEN SIMPLER IS THE MATERIALS LIST:

- Fibre to be dyed Using natural dyes from the environment can be really meaningful, especially if you have an end product in mind. Marnie chose the NZ Harakeke flax, which is not a true botanical flax. To the Maori people, however, Harakeke is one of the most important and versatile plants, being one of the few native plants of economic importance. Its fibre is still used today for weaving. When the flax has been stripped, the fibre (which looks like soft straw) is used for making traditional Maori skirts and poi,s. It has seedpods that stand upright from the stems.


Always wanted to dye your own fibre? Visit our shop at www.indieroad.com.au to order your kit now. Kit comes complete with fibre, dyes, gloves and instructions to dye your own yarn!


1 Place handfuls of flax flowers in the cheesecloth bag, close this and place in container of boiling water with the mordant (dye fixing substance). 2 Add your fibre and press it down into the water with the wooden spoon. (If your hank is loosely tied in a loop, the dye will work evenly throughout. If your hank it knotted or wound tightly, the dye has more difficulty penetrating and that is where you get the lighter tonal values.) 3 Bring to the boil, then simmer for 5-10 minutes. 4 With gloved hands, squeeze fibre out over the empty bucket. 5 Rinse gently in warm water so the fibre will not felt. Do not manipulate your fibre too much, but squeeze dry after rinsing a few times. 6 Hang over your drying rod. (At home, I use a pergola hook and let it drip dry.) This was a simple process that took minimal effort and time, but gave us wonderful results to take home from our Yarn Tour. We appreciated Marnie sharing her knowledge and the gift of naturally dyed fibre with NZ flax flowers. Because my hank of fibre was tightly wound, my end result was a pure earthy brown with sections of paler brown. I decided to experiment further and overdye my yarn, so when I returned home, I used a waratah and a citrus commercial dye colour and painted my mixtures on with a stencil brush. I used the microwave technique (four sessions of two minutes on high with a waiting period in between), let it cool, rinsed it and hung to dry. I used my swift to hold the dry hank while I wound the ball winder for a really professional result. Notes * Usually you soak your fibre overnight before dyeing, to get an even colour. The fibres in this experiment were not pre-soaked. * A mordant is a caustic substance used for fixing dyes. Vinegar works well and is easily obtained. * Dyeing on white or cream produces different results than dyeing on a grey or other base colour. Dyeing on a darker base usually produces colours with slightly more intensity and depth. Refer to the photo of the fibre on the drying rod.

Touch Yarns, owned and operated by the Kelly family since 1991, is located in Clyde in Central Otago, New Zealand. They use superfine kid mohair, merino, possum fur, alpaca, silk and polwarth wools to produce a range of top quality, beautifully dyed knitting and weaving yarns. TOUCHYARNS.COM

@ touchyarns@xtra.co.nz

30 Natural Dyeing

PROCEDURE


CRUMBZ CRAFT


32 Store Spotlight

EVERY ONCE IN A WHILE YOU STUMBLE ACROSS A SHOP THAT MAKES YOUR HEART SING.

Crumbz Craft in the pretty Yarra Valley town of Healesville, is one such shop. It’s the crafter’s equivalent of a lolly shop – as you slide open the door and step inside, your eyes simply don’t know what to feast on first. Rather than being overly crammed full of haberdashery, it’s beautifully laid out with elegant wall displays of yarns in every hue with samples on needles of how a yarn knits up for you to pick up and feel. On the opposite wall, rows of high-end fabrics are coordinated by colour and designer with sample patterns made up for you to inspect. It’s that clever attention to detail that makes the shop so inviting and you could wander through it in your own little world all day. Crumbz Craft is the brainchild of the very stylish and welcoming Kay Trembath. In the shop most days chatting with and serving customers, Kay helps them with their projects and manages the workshops and private lessons that make it a thriving hub of the community. ‘The shop was born out of necessity really,’ Kay explains, ‘because when I moved to the

Yarra Valley from the city, I realized I’d have to drive miles to find fabric or yarn and that wasn’t going to work for me! Back then I was designing my own range of aprons, so I needed access to supplies. I set about rectifying that and word soon spread that there was a new craft shop in Healesville and we grew steadily from there.’ Moving to larger premises after three years, they are now in a prime location in the town’s Main Street, easy to spot as the lamp-pole outside the shop has been colourfully and artfully yarn bombed. ‘That installation caused quite a stir and gathered a life of its own online. We see tourists posing to have their picture taken next to it and have seen people kissing it. In our winter months it adds a nice dash of colour. And we’ve even been approached to decorate all the lamps in the main street. It’s amazing the impact it’s had.’ Kay attributes a large part of Crumbz’ success to the amazing knowledgeable staff she has running workshops and classes and serving in the shop. ‘We are incredibly fortunate to have found such talented individuals locally who are so respected in their field and such capable teachers. Our workshops and private lessons are very popular and it’s largely due


33 Store Spotlight

to the gorgeous teachers who run them.’ Crumbz Craft teach all ages and abilities and now have two children’s knitting and sewing clubs plus Knit Hook Natter groups during the day and evenings. They don’t just teach people to knit, sew or crochet they run a really eclectic and broad range of workshops from basket weaving to Japanese Tsumami Zaiku, painting with watercolours to using a Turkish drop spindle! As we crafters well know, crafting is as much a social activity as it is a solitary pastime and the social hub that Kay has created keeps growing. She loves to run events such as the Chocolate and Yarn night, Sushi and Yarn night and an annual overnight Yarn-aThon for charity. Recently Kay hosted A Night with Arne&Carlos (crumbz.com.au/blogs/knit-hook-sew), the sensational European knitting duo who were on tour Down Under with Cleckheaton. ‘We love giving people the opportunity to get together with like-minded crafters at our events and we equally love helping individuals find what they need for their projects,including ordering items in for people wherever possible. Our customers love that we’re open seven days a week and our website gets sales from crafters throughout Australia who delight in being able to choose from the large selection of stock we have online.’

e N t i Vis

d n a l a w Ze next tour: north island august 2018 more details visit creativeincentives.com.au


34 Store Spotlight

If you ever have a day to yourself and fancy a picturesque drive out through a wine growing region only an hour NE of Melbourne, set Google maps to Healesville and you can while away your day at Crumbz Craft, being inspired and picking up tips, patterns, fabrics, yarns, gifts and haby. Better still, check out their events calendar (link to crumbz.com.au/pages/ workshopcalendar) and plan ahead so you can take in a workshop while you’re there.

CRAFT CRUMBZ 236 Maroondah Hwy, Healesville VIC 3777 (03) 5962 6635 crumbzcraft.com.au

Hours: Sunday 10:30am–4:30pm Monday- Saturday 9:30am–4:30pm

Handmade macrame & crochet homewares, jewellery & accessories.

Custom orders welcome @pipni_

etsy.com/au/shop/PipniHandmade | pipnihandmade@bigpond.com


36 To Knit or Crochet

OR CROCHET? BY CLARE HACKER

Clare is a knitter of some repute, garnered through her tutoring for Knitters’ Guild NSW Inc. Groups. Clare likes knitting hats, cowls and shawls. These items are usually the result of tinkering with yarn, pencil and paper. Clare has a great affection for her collection of stitch dictionaries. So, here’s the thing. I know a lot of people who use needles and I know a few happy hookers. That is to say in my circle of acquaintances, there are both knitters and crocheters. I would make the observation that a number would consider themselves “bi-craftual”, while the remainder would either only knit or only crochet. I myself am a devout knitter. It’s not that I can’t crochet, but I prefer not to. I’ve dabbled, but not yet had the compulsion to crochet a specific project. Learning to knit, however, was a different story. I had to ask my Mum, as trying to recall when my knitting journey began draws a blank. We agreed that I must have learned to knit between the ages of 11 and 12 as I earned my Knitters badge in Girl Guides. Nowadays there are a myriad of reasons why people decide to either knit or crochet. Quite

often, it may be because they saw something a friend was trying to do or what a friend was wearing. Maybe something caught their eye in a fashion magazine. Maybe someone close to them, or they themselves are expecting. Still others just wish to pick up from where they left off in their childhood. I fall into this latter category. I was proficient in the basics but I wanted to learn so much more. What comparisons can be made between knit and crochet, in terms of which is easiest to learn? Anything new is going to take some time but with practice, who knows? Whilst knitting has two stitches, knit and purl, crochet has double crochet, treble, half treble, double treble, triple treble (in UK terms.) To be fair though, that’s over complicating crochet, because most of the stitches are just an additional action to the previous one, hence the double followed by treble etc. The means by which knitting and crochet can be learned are as diverse as there are learning types. Traditionally, a relative would have taught knitting and crochet face to face. There would also be many a knitter and crocheter


37 To Knit or Crochet

who have taught themselves using books, as they may not have had family or friends to teach them or access to a local yarn store or knitting group. Nowadays, thanks to the proliferation of the internet, people have access to written instructions, tutorials illustrated with photos and video clips. Knitting requires the use of needles, which can be made of metal, wood or bamboo and come as straight or circular, in various lengths. Crochet requires the use of a single hook, which can also be made of various materials. The best crochet hook set I’ve seen has the hooks colour coded to their size. I’ve amassed way more knitting needles than I care to admit, as I tend not to be a monogamous knitter. I’ve double pointed needle sets, an interchangeable needle set with extra tips and cables and a collection of supplementary straights, sought out from op shops. My crochet hook collection pales in comparison. They are a staple of my knitting tool kit for catching dropped stitches or doing provisional cast ons. Both knitting and crochet patterns can be wholly written, written and charted, or primarily charted. A chart illustrates the knitting or crochet in

A5-Ad-5mm-bleed-trim-marks.pdf

1

23/8/17

1:50 pm

a visual manner that takes up minimal space in comparison to the written equivalent. Both knitting and crochet written patterns use abbreviations set by international standards. Knitting and crochet projects are relatively portable in nature and there is something for everybody. Most anything can be either knitted or crocheted, though there are some items where one craft may be more dominant than the other. As an example, adult garments like jumpers are probably more likely to be knitted and homeware items are more likely to be crocheted. So in guiding you towards learning one over the other, I would recommend you to look to your own aesthetic. Find that project that you really like the look of and have a little fortitude towards learning the process of creating it. Invest in a basic set of needles or hooks and then trade up as your proficiency gains pace. Don’t necessarily skimp on yarn either. I would encourage the use of staple, workhouse yarns or what I term calico yarns, in the beginning. The crafts of knitting and crochet may take patience, perseverance and persistence but they are amongst the best ways to while away the time where you have an end product to wear


38

KNITTERS GUILD

CRUMBZ CRAFT

Over 25 locations across New South Wales.

Crumbz Craft is a vibrant modern craft shop in the

We offer workshops, tutorials, a well-stocked

Yarra Valley town of Healesville - featuring quality

library, shows, exhibitions. Events, retreats

fabrics, international yarns, designer patterns and all

and friendship. Everyone is welcome. Fun,

your haby needs. Open 7 days a week, their impressive

Friendship, Knitting and Crochet.

online store also ships Australia-wide.

kgnsw.org.au

236 Maroondah Hwy, Healesville Vic 3777 (03) 5962 6635 shop@crumbz.com.au | crumbzcraft.com.au CrumbzCraft

@crumbz_craft

C L A R E H AC K E R

A D D I CT E D TO T H E H O O K

A Tasmanian ex-pat now living in the Blue Mountains,

Crochet Designer providing fresh, modern,

I’m a predominantly self-taught knitter. I have a

and easy to follow patterns for all skill levels.

tendency to only focus on accessories and more often

You can find more information on Etsy, Facebook

than not they’re self-devised. Lace and cables are my go

and Ravelry under Addicted 2 the Hook!

to knits though I’m also content dabbling in colour work when the mood takes me. @ taswegianknits@gmail.com @taswegianknits

@taswegianknits


THE BASIC S BY MEL HARRISON


There is something extra satisfying when you create a knitting/crochet/ felting/spinning project that you hand dyed yourself. It is an extra level of creative expression. This article will give a brief explanation of some basic information needed to hand dye your own yarns or fibre. SAFETY While dyeing in theory isnâ&#x20AC;&#x2122;t a dangerous hobby there are some safety procedures that should be covered before you start. DUST MASK Dyes mainly come in powder form and like any powdered substance if inhaled they can cause lung irritation. To protect yourself from breathing in the fine dye particles a dust mask should be worn whenever you are handling the powdered form of dyes. Please do not let children interact with the dye powders. Children can however use the mixed dye solutions safely. Please refer to your product information.


41 Hand Dyeing

GLOVES Gloves will protect your hands from colour staining. They will also protect the skin of sensitive individuals from reaction from the acidic ph and/or the ingredients in the dye solution. UTENSILS Any utensil used for dyeing including spoons, mixing containers and dyeing pots should never be used again for food preparation or cooking. SURFACES Dyes can stain a lot of surfaces so I recommend covering your work surface with a plastic table cloth or another protective cover.

THERE IS SOMETHING EXTRA SATISFYING WHEN YOU CREATE A KNITTING/CROCHET/ FELTING/SPINNING PROJECT THAT YOU HAND DYED YOURSELF.

FIBRES You can technically hand dye any fibre but you have to understand which category your fibre belongs to so you can dye them with the correct dyes. Protein fibres include wool, silk, alpaca, llama, merino, cashmere and other animal based furs and hairs. Protein fibres can be treated so they are machine washable. These superwash fibres are fantastic for dyeing as they are not prone to felting. You can dye untreated fibres but extra care is required to prevent felting. PLANT FIBRES Cotton, bamboo, linen and a large array of unusual plant based fibres such as banana leaf all belong to the plant fibres category. MAN MADE FIBRES Nylon, polyester, acrylics are examples of man made fibres. Nylon has some unique properties I will discuss further in the dye section.


42 Hand Dyeing

DYES It is important to use the correct dyes for your fibre. The main categories of dyes are: ACID Acid dyes are not as scary as they sound. The acid refers to the ph level required to activate the dyes. This is usually achieved by the addition of vinegar or citric acid and a heat source. Even simple food dyes used for cake icing can be used as an acid dye. Food colours are a fantastic way to begin your hand dyeing experiments. Fibre type: protein and nylon which binds acid dyes in a very similar way to natural protein fibres. Pros: easy to use, fantastic colours and results. Cons: Some colours are not as wash or light fast as others. FIBRE REACTIVE DYES When working with cotton, linen and other plant fibres you will get the best results from fibre reactive dyes like procion dyes. Procion dyes use soda ash as a fixative. They work on the other end of the PH scale to acid dyes as the soda ash creates an alkaline environment. Fibre type: cotton, Ilene, bamboo Pros: A feature of procion dyes is that they donâ&#x20AC;&#x2122;t need to be heated and can give very vibrant strong colours. Cons: They do tend to be harder to rinse clear compared to acid dyes but the results are worth the extra effort. DIRECT DYES iDye natural is an example of a direct dye. It is used for cotton and other plant fibre yarns. It does need heating to a very high temperature and salt to seat the dye. Fibre: cotton, linen, bamboo

NATURAL DYES Dyes can be created from natural sources such as plants and seeds. Using mordants such as alum or copper to attract the pigments, indigo, avocado, turmeric and even the humble cabbage can give a natural alternative to dye protein-based fabrics. Pros: natural derived; can be used to create organic yarns; potentially very cheap or even free. Cons: requires a mordant; can take a large amount to achieve desired colours; may not be as wash or colour fast as chemical dyes.

EQUIPMENT Equipment for dyeing doesnâ&#x20AC;&#x2122;t have to be expensive. You can use any old jars, containers, spoons, syringes, craft supplies etc.

TECHNIQUES I will be discussing techniques in more detail in coming editions. This is just a small list of some of the more popular techniques used for yarn dyeing.

Pros: easily available from craft and fabric shops. Cons: The results are not as vibrant or as wash fast as procion dyes.

DIP DYEING Hand painting, Shallow immersion dyeing, Speckled, Layering, Deep Immersion dyeing, Self striping, Gradients.

UNION DYES Dyes such as Rit and Dylon are in the category of union dyes. Fibre: Available in formulas to dye most fibre types. Pros: They are versatile because they can be used on both fibre and protein fibres so are good for blended yarns. Cons: They are not as wash and light fast as other dye types.

Indie Road and Mahogany Turtle will be offering a DAL (dye along) box that will contain everything you need to create your own dip dyed skein. Choose between either a 4 ply or 8 ply 100% Australian superwash Merino and between a monochrome grey or purple Landscapes acid dye. To order your DAL kit please go to indieroad.com.au under subscriptions and order by 15th March 2018.


44 Fibre Talk

THE CLOVERLEAF STORY - FROM SHEEP TO FLEECE

BY RONELLE WELTON Cloverleaf Corriedale Stud

Growing up in tropical North Queensland, the closest I came to sheep was through stories from southern farmers accounting the exasperation of working with jumpy little beasts that were not particularly smart. In 2013, my husband and I purchased 80 acres in Victoria’s Macedon Ranges. What does a farmer do in Victoria? Well, apparently they breed sheep. After much research on sheep breeds, temperament and fleece I decided that the Corriedale sheep would suit us with its reputedly low maintenance, strong fortitude and a good fleece that would withstand the rainfall in the area. To enable further learning and knowledge, I decided to start a stud to enable access to the large commercial breeders. TH E BR E E D

The Corriedale sheep was developed in the 1870s and was a cross between the Merino and the English heritage long wool breeds, the Lincoln and English Leicester. The aim was to develop a sturdy sheep with a medium fleece between 25-30 microns. Large commercial Corriedale breeders have supported the new young farmers. The breed is popular with secondary school students seeking to start their own studs, as the low maintenance and easygoing nature of this breed supports their endeavours.

THE CORRIEDALE BREED AND ITS FLEECE HAVE UNDERTAKEN A RESURGENCE IN POPULARITY OVER THE PAST FIVE YEARS. T HE FA R M FA M ILY

Admittedly, with the purchase of five stud sheep, this was the first time I had physically seen a sheep. I was like a mother with a newborn child. What do you do with these creatures? How do you handle them? They were so scared and flighty. Five years on, the current small flock of 45 sheep is part of one big farm family. Nutrition, genetics and ethical husbandry are the three pillars I have found to support happy, healthy sheep that produce magical fleece.

WHILE THEIR PERSONALITIES VARY, THIS BREED IS QUIET. THERE IS SOMETHING VERY NOURISHING ABOUT SITTING OUTDOORS IN THE BREEZE WITH THE SUN ON YOUR FACE AND THE SMELLS AND SOUNDS OF THE SHEEP GRAZING LESS THAN AN ARM’S LENGTH AWAY. The husbandry basics are shelter and food. To support the physical health of the flock however, other activities include foot clipping, removing daggy fleece from their bums and


45

abbeymade


Each animal has a personality.I can now recognize each sheep in the paddock by the way they move, where they are in the flock and how they walk. They can be rambunctious, shy, or pushy, while some will walk up to you for a scratch. WOOL CANDY F EV E R

Shearing time is always exciting and the full realization of your year with the sheep comes to fruition. The sheep are shorn annually around November after the cold of winter and before too many grass seeds can get into the fleece. The days and weeks spent caring for the animals comes full circle as the beautiful fleece comes off. Friends help me separate the legs and bellies from the coated and uncoated fleeces. We review the merits of each fleece and the animal it has come from and then confer some more. All we want to do is spin, wash, dye, knit or weave each fiber into a new creation! Depending on which heritage (Merino or Lincoln) the Corriedale leans towards, it has numerous uses. I tend to spin in the grease and then dye in the microwave, while another friend prefers to wash, card and then pot dye before spinning. TH E COSTS

Excluding infrastructure costs to date ($15,000), average annual care and husbandry costs $150 per sheep. With a small mob, shearing costs around $12 a sheep. A 90kg ewe will cut approximately 8kg of fleece and a 120kg ram will typically cut 10kg. My vision of sweet little animals trotting around the farm has been quickly quelled. Raw fleece is sold for $25 per kg, with profits averaging $50 per sheep per year and I also get all the fleece I want to play with! WH AT H AVE I LE A R NE D?

Myth busted: Specific sheep breeds are best. I have learned all fleece has positive attributes and you need to decide what your end project is and choose a fleece appropriate for this. This does not make breed specific distinctions, but depends on the character, lustre, crimp and length. This is found across breeds. Stronger wool does not equal prickle factor. I am very sensitive to prickle and I have learned that stronger micron fleece is not always prickly. Some 30 micron fleece can be prickle free! I have also learned that one breed of sheep is not better than another in prickle factor. It is all in the character of the fleece. The boys are the friendliest. I am not sure why. They are the first up to the fence and I can sit in the paddock and give them a scratch and a rub. The boys are happy for kids to give them a scratch or a feed from a bucket. The girls are a little bit more skittish around people they do not recognise.

Lamb in spring. The warmer weather in spring and new grass supports spring lambing and I want to keep things in line with natural rhythms as much as possible. I was told to lamb in April or May so lambs would be ready in December, however I found it was too stressful for the mums and lambs. I was also informed to shear in winter so the fleece does not get vegetable matter in it. Always ask! Research Fine wool. I have learned that some farmers fine down their wool by limiting nutrition to the sheep. The leaner the sheep, the less nutrition goes into the fleece thus the finer the fleece. Keep an eye out! Learn to shear sheep. As a newcomer I admit I was shocked at some aspects. However, I see the push within governing bodies and training groups to improve the quality of shearing to support sheep wellbeing. I have found a shearer who agrees with my standards of care and I seek to organize a standing shearing platform to shear my sheep myself. Look for ethical husbandry practices. Like good food, always look to understand where your wool and yarn has come from. There are so many amazing Australian farmers with stories who are looking to find you also! N EXT ST EP S

As I sit in the paddock with my girls, they provide me with the occasional grassy burp asI reminisce about how much I have loved this journey. The response from our suburban friends and families upon being greeted by the sheep and the emotional connection of meeting and interacting with the animals has been heartwarming. Their woolly little faces have led us to developing a B&B where we are connecting many people with the personalities that make this magical fibre. Please come and join the journey at cloverleafsheep.com.au

46 Fibre Talk

wigging (which is snipping fleece from their face so they can see as they become enormously woolly), plus vaccinating and de-worming. I have learned the social structure of the flock and how to provide calm and safe interactions.They come when called and moving them from paddock to paddock is an exercise of follow the leader. No dogs or motorbikes are required!


47

Sea Shell Skirt - Pattern

BY J O D I E B O OT H Difficulty: Intermediate

Jodie grew up in Dargaville, New Zealand and is the mum of four children aged 2 to 20. She loves to express her creative side in design as Addicted 2 The Hook.

RO U N D 1

Fdc 132. Join with a sl st in first fdc. Do not turn (132 sts). RO U N D 2

MATERIALS - M  oda Vera Beetle DK 8 ply 50% cotton

50% acrylic 350g in white (7 balls)

Ch 5, sk 2, sc, *ch 3, sk 2, sc* 3 times. Ch 5, sk 2, sc, *ch 3, sk 2, sc* 3 times, {ch 5, sk 2, sc, ch 5, sk 2, sc} 1st corner, *ch 3, sk 2, sc* 3 times. Ch 5, sk 2, sc, *ch 3, sk 2, sc* 3 times, {ch 5, sk 2, sc, ch 5, sk 2, sc} 2nd corner, *ch 3, sk 2, sc* 3 times. Ch 5, sk 2, sc, *ch 3, sk 2, sc* 3 times {ch 5, sk 2, sc, ch 5, sk 2, sc} 3rd corner *ch 3, sk 2, sc* 3 times. Ch 5, sk 2, sc, *ch 3, sk 2, sc* 3 times {ch 5, sk 2, sc, ch 5, sk 2, sc} 4th corner *ch 3, sk 2, sc* 3 times. Ch 5, sk 2, sc, *ch 3, sk 2, sc* 3 times. Sl st in same st as 1st sl st to join. Do not turn. (204 sts)

-7  0cm waist, use a 5mm (H/8) hook

RO U N D 3

-7  5cm waist, use a 5.5mm (I/9) hook

Sl st into ch 5 sp, ch 3 (counts as dc), 9 dc into same ch 5 sp, sc into ch 3 sp, ch 3, sc into next ch 3 sp, ch 3, sc into ch 3 sp.

- Beads PAT TERN NOT E S

This is an intermediate level pattern. The skirt has 4 corners to make the back longer than the front. Sl st to join does not count as a stitch. Refer to page 59 for abbreviations and instructions on how to make foundation double crochet (fdc).

*10 dc into ch 5 sp, sc into ch 3 sp, ch 3, sc into next ch 3 sp, ch 3, sc into next ch 3 sp, 10 dc in each of the next 2 ch 5 sps, sc into ch 3 sp, ch 3, sc into next ch 3 sp, ch 3, sc into ch 3 sp* 4 times. 10 dc into ch 5 sp, sc into ch 3 sp, ch 3, sc into next ch 3 sp, ch 3, sc into next ch 3 sp, join with a sl st into 3rd ch. Do not turn. (230 sts) RO U N D 4

Ch 3 (counts as 1 dc), 1 dc in each of the next 9 dc, sc into ch 3 sp, ch 3, sc in ch 3 sp. *1 dc in each of the next 10 dc, sc into ch 3 sp, ch 3, sc in ch 3 sp, 1 dc in each of the next 20 dc, sc in ch 3 sp, ch 3, sc in ch 3 sp* 4 times. 1 dc in each of the next 10 dc, sc in ch 3 sp, ch 3, sc in ch 3 sp, join with a sl st into 3rd ch. Do not turn. (190 sts)


48

Ch 4 (counts as dc, ch 1) *dc, ch 1* in every dc from previous round, join with a sl st into the 3rd ch. Do not turn. (280 sts) RO U N D 6

Sl st over 3 sts to the 2nd ch 1 sp, ch 3, sk 1 ch sp, sc into next ch sp, ch 3, sk 1 ch sp, sc in next ch sp, ch 3, sk 1 ch sp, sc in next ch sp. *Ch 5, sk 7 sts, sc in next ch sp, [ch 3, sk 1 ch sp, sc in next ch sp] 3 times, {ch 5, sk 1 ch sp, sc in next ch sp, ch 5} corner. Sk 1 ch sp, sc in next ch sp, [ch 3, sk 1 ch sp, sc in next] 3 times,* 4 times. Ch 5, sk 7 sts, sc in next ch sp, *ch 3, sk 1 ch sp, sc in next ch sp* 3 times. Ch 5, join with a sl st into 1st ch. (277 sts) RO U N D 7

Ch 1, turn, sl st into ch 3 sp, 10 dc in ch 5 sp, *sc in ch 3 sp, ch 3, sc in next ch 3 sp, ch 3, 10 dc inch 5 sp, sc in ch 3 sp, ch 3, sc in next ch 3 sp, ch 3, 10 dc in next 2 ch 5 sps,* 4 times, Join with a sl st into 3rd ch. Do not turn. (346 sts) RO U N D 8

Ch 3 (counts as dc), dc in each of the next 9 dc, *sc in 3 ch sp, ch 3, sc in ch 3 sp, dc in each of the next 10 dc, sc in ch 3 sp, ch 3, sc in ch 3 sp, dc in each of the next 20 dc,* 4 times. Join with a sl st into 3rd ch. Do not turn. (250 sts) RO U N D 9

Ch 4 (counts as dc, ch 1) *dc, ch 1* in every dc from previous round. Join with a sl st into the 3rd ch. Do not turn. (360 sts) R EP EAT RO U N DS 6 – 9 U N T IL T HE D E S IR ED L EN GT H IS R EAC HED. To finish off make 1 sc in

each st around and weave in ends. WA IST BA N D

SHE SELLS SEASHELLS BY THE SEASHORE, THE SHELLS SHE SELLS ARE SEASHELLS, I’M SURE. SO IF SHE SELLS SEASHELLS ON THE SEASHORE, THEN I’M SURE SHE SELLS SEASHORE SHELLS. T O N G U E T W I ST E R A B O U T M A RY A N N I N G ( 1 7 9 9 – 1 8 47 )

Rounds 1-3 Join yarn in any stitch, ch 1, sc in every st, join with a sl st. Do not turn. (132 sts) Round 4 Ch 4 (counts as dc, ch 1), *sk 1 st, dc, ch 1* 65 times. Join with a sl st into 3rd ch. Do not turn (132 sts, inc. ch). Round 5 Ch 2 (counts as hdc) hdc in every st and ch, join with a sl st. Do not turn. (132 sts) Finish off. LO N G TA IL CO R D

With a 5mm (H/8) hook and 3 metres of yarn, make a slip knot in the middle of the 3 metres. Using both strands of yarn: Step 1 Wrap tail yarn around hook from front to back, (two loops on hook). Step 2 With working yarn, yarn over and pull through both loops, (one loop on hook). Repeat until the desired length is reached. Attach beads and thread the cord through round 4 of band.

Sea Shell Skirt - Pattern

RO U N D 5


49

Queen Mabi’s Crown - Pattern

BY MEL HARRISON Difficulty: Easy

This stash-busting project will have a special little (or big!) girl ready for spring. The sample used 8 ply yarn and a 4mm hook but this project is flexible for any yarn weight and hook size.

TH E H EADBA ND

RO U N D 1

Measure the head circumference of the

Join into a loop with an sc to the first fdc st. Continue sc sts until you reach the first stitch marker. Hdc in the next 6 sts, dc in the next 12 sts, hdc in the next 6 sts, sc around back to the first stitch marker.

intended wearer. The foundation row needs to be 4cm less than this measurement. For example, the child photographed has a head circumference of 47cm, the headband is 43cm and contains 73 foundation double crochet (fdc) stitches. Using fdc is a must as it gives the stretch and flexibility needed for this project. Refer to page 59 for instructions for how to make fdc. FOUNDATION ROW

Make an fdc row that measures 4cm less than the measured head circumference. Find the centre st of the foundation row. Place marker on the top edge, 12 sts to the right of the centre st, and a second marker on the bottom edge, 12 sts to the left of the centre st. There should be 24 stitches between the markers. Work in the round for the next rows.

RO U N D 2

Hdc in the next 6 sts, dc in the next 12 sts, hdc in the next 6 sts, sc to the initial join made on the foundation chain. Finish off. Join a new strand of yarn on the opposite side of the foundation row, 3 sts before the first dc. There will be a small “v” shaped gap between the first and last dc and this next step will close that gap. RO U N D 3

Sc in next 3 sts, continue sc sts across the gap created by the first and last dc bringing the edges together. Then continue sc sts to the first stitch marker. Hdc in next 6 sts, dc in next 12 sts, hdc in next 6 sts, sc back around to the first stitch marker, hdc in the next 6 sts, dc in the next 8 sts, hdc in the next 6 sts, sc to the join at the centre back of the foundation row and finish off. Weave in tails.


50

RO U N D 1

Ch 4, sl st to the first st to make a loop. Working into the circle ch 1, *sc 1, 4 hdc* three times. (15 sts) RO U N D 2

Working only in the front loops, *sc, 4 hdc into the next st* seven times, sc. Sl st behind the first petal and finish off leaving a long tail for stitching onto the headband. LA RG E F LOW E RS RO U N D 1

Ch 4, sl st to the first st to make a loop. Working into the circle, ch 2, 3 hdc, sc, *4 hdc, sc* three times. (19 sts) RO U N D 2

Working in the front loop only, *sc, 4 hdc into the next stitch* seven times. (35 sts) RO U N D 3

Working on the underside of the flower in the back loops remaining from the previous round, 2 sc in each st. (70 sts) This will look like flat long stitches lying on top of the flower back. RO U N D 4

Working only in the front loop of the previous round, *sc, 4 dc into the next st* thirteen times. (65 sts) Sl st to the first st in the round and finish off, leaving a long tail for stitching onto the headband.

LA RG E LE A F

Ch 14, sc in second chain from hook, hdc in next 3 ch, dc in next 5 ch, dc in next 3 ch, sc. Turn and work up the other side in the exact same st sequence. Finish off and leave a long tail for stitching onto the headband. S MA LL LE A F

T H E R E ’ S N O S TA R T O O F A R , A N D N O D R E A M TO O G R A N D. S O S H A K E T H E FA I R Y DUST AND MAKE A WISH, T H E M AG I C ’S I N YO U R H A N D S ! AU T H O R U N K N OW N

Ch 10, sc in second chain from hook, hdc in next 2 ch, dc in next 3 ch, hdc in next 2 ch, sc. Turn and work up the other side in the exact same st sequence. Finish off and leave a long tail for stitching onto the headband. To construct the crown, arrange leaves and flowers on the front of the headband. Wrap the design around the side and the flared out section of the front of the headband. When happy with the design, hand stitch the pieces in place with the remaining tails. Weave in all tails.

Queen Mabi’s Crown - Pattern

S MA LL F LOW E RS


51

Slouchy Beanie - Pattern

BY ABBEY BONGERS (ABBEYMADE) Difficulty: Easy

Abbey has been crocheting obsessively for about 5 years and is especially passionate about Tunisian crochet. Learning only from books, online tutorials and lots of practice, she’s discovered that crochet is so much more than doilies and blankets. Abbey is currently designing several modern and versatile wearables – follow her progress on Instagram under ‘Abbeymade’. The brim of this slouchy beanie is made using back loop single crochet, which gives a textured band with some stretch to it. The popcorn section is designed to be baggy and worn as a slouch style hat rather than fitted tightly to the head. Two sizes are offered in the pattern, both for adults – small size has a band circumference of 44cm, large is 48cm (will stretch with wear). The larger size is perfect for avoiding hat hair. Stitch counts for the two sizes are shown as small/large throughout pattern.

BRIM

Using 3.5mm hook, ch 13. ROW 1

Blsc in 2nd ch from hook and in each remaining ch (12 blsc), ch 1, turn. MATERIALS - B  endigo Woollen Mills Luxury 8 ply -

1 x 200g ball (using approx. 150g for whole beanie). The samples for this pattern used ‘frost’ and ‘baby blossom’. This yarn is wonderfully soft, machine washable and best of all, Australian made. - 3.5mm crochet hook - 4.5mm crochet hook - Darning needle

ROW 2 - 98/ 1 04

Blsc in each stitch (12 blsc), ch 1, turn. ROW 9 9/ 1 05

The aim of this row is to join the band into a circle without sewing. Blsc, loosen the working loop and remove hook. Insert hook into bl of first sc of row 1, insert hook back into the working loop and pull through. Continue this joining technique for each stitch across, matching the joins with the next associated stitch (12 sc joins). This results in a band that is 44/48 cm when slack. It will stretch with wear.

popcorn stitch and page 59 for abbreviations.

From this point on, stitches will be worked along the long length of the ribbed band in complete circles. Ch 1, 1 sc into each blsc row of the ribbed band, sl st into the first sc to join. (99/105 sc)

Instructions for small and large sizes are

Swap to 4.5mm hook.

PAT TERN NOT E S

Refer to page 23-24 for a tutorial on the

written as small/large, eg 98/104.


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Beg pc, [Ch 3, skip 2 sc, pc into next stitch] 32/34 times. Ch 3, sl st to the top of beg pc (33/35 pc, 33/35 ch 3 spaces). From this point on, all beg pc and pc are worked into ch 3 spaces. P C ROWS 2 - 8

Sl st into next ch 3 space, beg pc, [ch 3, pc into next ch space] 32/34 times. Ch 3, sl st to the top of first pc (33/35 pc, 33/35 ch 3 spaces). P C ROW 9

Sl st into next ch 3 space, beg pc, pc into next ch space, [ch 3, pc into next ch 3 space] 3 times. {Ch 3, pc into the next 2 ch 3 spaces, [ch 3, pc] 3 times} 5/6 times. Small only- Ch 3, pc into the next 2 ch 3 spaces, ch 3, pc. Ch 3, sl st to the top of first pc (33/35 pc, 26/28 ch 3 spaces). P C ROW 1 0

Sl st into next ch 3 space, beg pc, ch 3, [pc, ch 3] 25/27 times. Sl st to top of first pc (26/28 pc, 26/28 ch 3 spaces). P C ROW 1 1

Sl st into next ch 3 space, beg pc, pc in next ch 3 space, [ch 3, pc] twice. {Ch 3, pc into the next 2 ch 3 spaces, [ch 3, pc] twice} 5/6 times. Small only - Ch 3, pc into the next 2 ch 3 spaces. Ch 3, sl st to the top of first pc (26/28 pc, 19/21 ch 3 spaces). P C ROW 12

Sl st into next ch 3 space, beg pc, ch 3, [pc, ch 3] 18/20 times. Sl st to top of first pc (19/21 pc, 19/21 ch 3 spaces). P C ROW 1 3

Sl st into next ch 3 space, beg pc, pc in next ch 3 space, ch 3, pc. [Ch 3, pc into the next 2 ch 3 spaces, ch 3, pc] 6 times. Small only - Ch 3, pc in next 2 ch 3 spaces. Ch 3, sl st to the top of first pc (19/21 pc, 12/14 ch 3 spaces). P C ROW 1 4

Sl st into next ch 3 space, beg pc, ch 3, [pc, ch 3] 11/13 times. Sl st to top of first pc (12/14 pc, 12/14 ch 3 spaces). P C ROW 1 5

Sl st into next ch 3 space, beg pc, pc in next ch 3 space, [ch 3, pc into the next 2 ch 3 spaces] 5/6 times, ch 3, sl st to the first pc (12/14 pc, 6/7 ch 3 spaces). P C ROW 1 6

SUMMER OR WINTER WEAR THIS BEANIE ALL YEAR ROUND!

Sl st into next ch 3 space, beg pc, [ch 1, pc in next ch 3 space] 5/6 times, ch 1, sl st to first pc (6/7 pc, 6/7 ch 1 spaces). L AST ROW

Sl st into 1st ch 1 space, ch 1, sc into same ch space, [sc into next ch 1 space] 5/6 times, sl st to first sc and bind off (6/7 sc). Weave in ends. Make a large pom pom and attach to top of beanie.

Slouchy Beanie - Pattern

P C ROW 1


53

Crochet Playsuit - Pattern

BY MEL HARRISON Difficulty: Easy

Made to fit a child aged 6 –18 months. The crochet playsuit is a snug fitted swimsuit style. It features a button crotch for easy nappy changes and adjustable shoulder ties. Finished playsuit measures 36cm long and 26cm wide.

MATERIALS

- 100g Bendigo Woollen Mills 8 ply cotton or approximately 100g of alternative 8 ply cotton.

BO D I C E RO U N D 1

Fdc 84. (84 sts) Join into a round with the first sc of round 2.

- 4mm standard crochet hook

RO U N D 2

- Stitch markers

Sc in each of next 5 sts, *hdc, dc, tr, dc, hdc, sc in each of next 9 sts* five times. Hdc, dc, tr, dc, hdc, sc in each of next 4 sts. (84 sts)

- Yarn needle - 3 x 15-18mm buttons

RO U N D 3

Foundation double crochet (fdc) – see tutorial

Sc in each of next 3 sts, *ch 1, sk 2 sts, (dc, ch 1) in each of the next 5 sts, sk 2 sts, sc in each of next 5 sts* five times. Ch 1, sk 2 sts, (dc, ch1) in each of the next 5 sts, sk 2 sts, sc in next 2 sts. (60 sts)

on page 59. If preferred, the fdc can be substituted

RO U N D 4

with a regular chain technique - chain 84+3

Sk 3 sts, *2 dc in 1st and 2nd ch sp, 3 dc in next ch sp, dc in top of next dc, 3 dc in next ch sp, 2 dc in next 2 ch sps, sk 2 sts, sc in next st, sk 2 sts six times. Join with a sl st to first st. (96 sts)

GAU GE 10cm=18 stitches x 14 rows hdc PAT TERN NOTE S

and work a standard dc row starting from the 4th chain from the hook for a total of 84 dc. The first stitch in each round is different. Some rows make a distinction between the new round and the last by joining with a slip stitch – this is specified on each row the technique is used. Some rows continue in a spiral to give a blurring effect between rounds. This is a deliberate technique to help blend the ‘seam’ and keep the pattern flowing over that section. It is recommended to place a stitch marker in the first stitch of each row to keep track of stitch counts per round. Light blocking is recommended when the playsuit is finished.

RO U N D 5

Ch 1, blsc in each st. Join with a sl st to first blsc. (96 sts) RO U N D 6

Ch 4 (counts as tr), dc, hdc, *sc in each of next 11 sts, hdc, dc, tr, dc, hdc* five times. Sc in each of next 11 sts, hdc, dc, join with a sl st to top of the first tr. (96 sts) RO U N D 7

Ch 4 (counts as dc, ch 1), (dc, ch 1) in each of the next 2 sts, *sk 2 sts, sc in each of next 7 sts, ch 1, sk 2 sts, (dc, ch 1) in each of the next 5 sts* five times. Sk 2, sc in each of next 7 sts, ch 1, sk 2, (dc, ch 1) in each of the next 2 sts. Join with a sl st to 3rd chain of the ch 4. (72 sts)


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ROW 4 Turn, ch 1, sc in next st, hdc in next 5 sts, dc

Ch 3, (counts as a dc), 3 dc in next ch sp, 2 dc in next 2 ch sps. Sk 3 sts, sc, sk 3 sts, 2 dc in next 2 ch sps, 3 dc in next ch sp, dc in top of next dc, 3 dc in next ch sp, 2 dc in next 2 ch sps. Sk 3 sts, sc, sk 3 sts* five times. Sk 3 sts, 2 dc in next 2 ch sps, 3 dc in next ch sp, ch 1. Join with a sl st to top of the first dc. (96 sts)

in next 16 sts, hdc in next 5 sts, sc in next st. (28 sts)

ROUND 9

Ch 1, blsc in each st. Join with a sl st to first blsc. (96 sts) ROUND 10

Sc in each of next 5 sts, *hdc, dc, tr, dc, hdc, sc in each of next 11 sts,* 5 times. Hdc, dc, tr, dc, hdc, sc in each of next 6 sts. (96 sts) ROUND 11

Sc in each of next 3 sts, *ch 1, sk 2 sts, (dc, ch 1) in each of the next 5 sts, sk 2 sts, sc in each of next 7 sts,* five times. Sk 2 sts, sc in each of next 4 sts. (96 sts) ROUND 12

*Sk 3 sts, 2 dc in next 2 ch sps, 3 dc in next ch sp, dc in top of next dc, 3 dc in next ch sp, 2 dc in next 2 ch sps, sk 3 sts, sc in the next st,* six times. Sl st to last sc of row 11. (96 sts) REP ROU NDS 5 - 12 twice and then rounds 5-9

once. There will now be a total of 33 rounds. ROUND 3 4

Sc in each of next 5 sts, *hdc in next 2 sts, dc, hdc in next 2 sts, sc in each of next 11 sts* five times, hdc in next 2 sts, dc, hdc in next 2 sts, sc in each of next 6 sts, slst to first sc. (96 sts) Finish off. PAN TIES Note: The ‘seam’ of the bodice runs up the back of the suit. It is important that there is a set of 3 waves across the width of the bodice and that the central wave of the last pattern repeat is centred at both the front and back.

To determine where to start the panties section, lay the bodice flat with the ‘seam’ showing at the middle of the back. There should be 3 waves front and back, with the middle point of the centre wave in the exact middle of the front. Place a stitch marker 7 sts in from the side edges, only counting stitches visible on the face of the work. The next section will be worked between these markers for the back pantie section of 34 sts. Working on the right side of the bodice, join yarn to the st next to the stitch marker and ch 1. ROW 1 Sc in same stitch as ch, hdc in next 5 sts, dc in

next 22 sts, hdc in next 5 sts, sc in next st. (34 sts) ROW 2 Turn, ch 1, sc in next st, hdc in next 5 sts, dc

in next 20 sts, hdc in next 5 sts, sc in next st. (32 sts) ROW 3 Turn, ch 1, sc in next st, hdc in next 5 sts, dc

in next 18 sts, hdc in next 5 sts, sc in next st. (30 sts)

ROW 5 Turn, ch 1, sc in next st, hdc in next 5 sts, dc

in next 14 sts, hdc in next 5 sts, sc in next st. (26 sts) ROW 6 Turn, ch 1, sc in next st, hdc in next 5 sts, dc

in next 12 sts, hdc in next 5 sts, sc in next st. (24 sts) ROW 7 Turn, ch 1, sc in next st, hdc in next 5 sts, dc in next 10 sts, hdc in next 5 sts, sc in next st. (22 sts) RO U N D 8

Do not turn. Ch 1, work 10 sc evenly up the side of the pantie back, up to the bodice. Working back on the bodice, sc in next 20 sts, hdc in next 5 sts, dc in next 13 sts, hdc in next 5 sts, sc in next 20 sts. Work 10 sc down the side of the pantie back. (83 sts) RO U N D 9

Sc in next 7 sts, hdc in next st, dc in next 6 sts, hdc in next st, sc in next 40 sts, hdc in next 4 sts, dc in next 9 sts, hdc in next 4 sts, sc in next 40 sts, hdc in next st, dc in next 8 sts, hdc in next 4 sts. (125 sts) ROWS 1 0 -1 5

Turn, ch 2 (counts as dc), dc in next 7 sts. (8 dc x 7 rows) RO U N D 1 6

Do not turn. Ch 1, work 10 sc evenly up the side of the pantie back up to the bodice. Sc in next 43 sts, hdc in next 2 sts, dc in next 9 sts, hdc in next 2 sts, sc in next 43 sts. Work 10 sc evenly down the side of crotch. (119 sts) RO U N D 17

Ch 1, sc in next 8 sts across the top of crotch. Do not turn. Ch 3, dc in next 58 sts, ch 1, sk 1 st, dc in next 2 sts, ch 1, sk 1 st, dc in next 2 sts, ch 1, sk1 st, dc in next 59 sts. (133 sts) The skipped stitches are buttonholes. Finish off leaving a long tail for the buttons to be sewn on with. Sew buttons to the ends of the crotch section. ST R A PS

Lay the playsuit flat with the front facing up. At the top edge of the suit, place a stitch marker 9 sts in from both side edges. Turn the suit over and do the same for the back. The stitch markers are a guide for where to place the straps. Starting at the side seam, *sc in each st to the marker and ch 46. Working back down the ch, sc in each ch, starting at the second chain from the hook (45 sc)* four times. Continue sc sts until reaching the starting point. Sl st to first sc and finish off. There will be four straps. Work in tails.

Crochet Playsuit - Pattern

ROUND 8


55

Macrame Pendant Light - Pattern

J OA N N E G E A N E Y FROM CHUNKY KNITS Difficulty: Easy

Jo has an eye for interior design and is passionate about beautiful and luxurious home décor items. This fibre artist, teacher and mum of two loves to create macramé pieces, knit and crochet. Featured in a major 2017 Australian lifestyle magazine, Jo’s journey to create timeless pieces continues as she enjoys inspiring others in the community to learn about fibre arts. LO O K at the Pendant Cage Light Diagram where there are three

parts: the top part with the light globe and cord pieces attached, the middle part with the 10 long vertical bars and the bottom part with the 10 short vertical bars. There are two horizontal bars running through the vertical bars to hold the cage together. We will be working on each of the vertical bars. You can choose to attach your light globe at the start or the end. MATERIALS

ST EP 1

- Approximately 40 - 60 metres of 4mm,

Measure and cut your rope to approximately 300cm. Do this 10 times (or one for each vertical bar of your cage light.)

natural white cotton rope, found on Etsy -1  x Café Style metal cage, pendant lamp from your local hardware store -1  Vintage Style filament light globe, 25 watts from your local hardware store - 1 pair of sharp scissors PAT TERN NOT E S

Create that warm, coastal bohemian feeling

ST EP 2

Fold rope in half to create a loop at one end. ST EP 3

Insert loop end into the small gap at the top part of the cage light. ST EP 4

Make a larks headknot at the top part of the cage light, by pulling the loop down over the two tail pieces of the rope and the first vertical bar. Hold the tails together and pull the rope through the loop and pull tightly to secure.

in your home with a statement light fitting

ST EP 5

using just a few simple macramé knots.

In this step you will make right - handed square knots. - At the top of the middle part of the cage light, hold the tail ends of the rope. - Make a 4 shape with the left side of the rope. - Place the right side of the rope over the tail end of the 4 shape, then bring the right side around to the back of the vertical bar. - Pass the rope into your left hand and pull the tail through. - Tighten the knot to secure. - Repeat this step 31 times (or until you reach the end of this vertical bar of the cage light.)

I made this in one evening with my toddlers running around my feet! You can too! Take note of the images and the video to help you achieve this very effective and simple home décor piece! The total cost for this light fitting was $74.


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FO R K N OT I N ST RU CT I O N S G O TO I N D I E R OA D.C O M . AU UNDER TIPS

Twist your knots around to the right to create a spiral. ST EP 7

Once you have reached the end of the vertical bar, hold the tails of the rope over the horizontal bar of the cage light. ST EP 8

In this step you will make 3 regular square knots in the bottom part of the cage light working down the short vertical bar. - Begin making one right â&#x20AC;&#x201C; handed square knot. Repeat this on the opposite side. - Make a backwards 4 shape with the right side of the rope. - Place the left side of the rope over the tail end of the backwards 4 shape. - Bring the left side around to the back of the short vertical bar and pass the rope into your right hand. Pull the tail through and tighten the completed regular square knot to secure. Repeat step 8 three times or until you reach the end of the short vertical bar. ST EP 9

Repeat Steps 2 â&#x20AC;&#x201C; 8 for each long vertical bar of the cage light. ST EP 1 0 We are almost there!

-Hold tail ends between each completed vertical bar of knots. - Make a half hitch knot to join ropes together. Hold the right side of the rope tightly, loop the left side over the right side, pass rope under the right side and pull through. Pull rope up and tighten to secure. - Then hold the left side of the rope tightly, loop the right side over the left side and pull up tightly to secure. Repeat knots until desired length is achieved. ST EP 1 1

Its time for a hair cut! Use a fine tooth comb or simply unravel the cotton rope with your fingers and trim the cotton to desired length. Disclaimer: Please ensure all safety is adhered to when dealing with electrical appliances including making additions and altering light fittings. If you are unsure please consult an electrician. Indie Road and any associated designers cannot be held responsible for problems that may occur when professionals have not been consulted.

Macrame Pendant Light - Pattern

ST EP 6


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Modern Macrame Necklace - Pattern

B Y A L LY H O R N E M A N Difficulty: Easy

A modern take on a traditional art form... knot your way to this boho inspired necklace.

MATERIALS

- 1m leather cord or wax coated cotton cord - 20m soft yarn cut into 1m lengths (I have used Moda Vera bamboo cotton yarn in Dark Linen for this project. It is a lovely soft blend and sits nicely for the necklace.) - a clipboard (optional but it makes a great work surface) PAT TERN NOT E S

You need to know a couple of basic macramĂŠ knots to complete this project. Go to indieroad.com.au under tips for knot examples.


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Larks head knot Double half hitch (This knot will be tied both horizontally and vertically.) We invite you check out the tips page of indieroad.com.au under the tips tab for our online knot help. ST EP 1

Fold each 1m length of yarn in half and attach to your cord using a larks head knot. Begin at the centre of the cord and work your way out on either side to ensure your lengths of yarn are centred on your cord. ST EP 2

If you are using a clipboard, secure your necklace to the clipboard. Beginning on the left hand side, take the first length of yarn and work horizontal double half hitch knots from left to right across all cords. ST EP 3

Return to the left hand side of your necklace. Take the two lengths of yarn on the far left and make a vertical double half hitch knot, tying the first length of yarn around the second. Take the next two lengths of yarn and repeat. Complete the row of vertical double half hitch knots. ST EP 4

This time begin on the right hand side and complete a row of horizontal double half hitch knots. Complete two more rows of horizontal double half hitch knots, the first from left to right then right to left. You should now have three rows of horizontal double half hitch knots. ST EP 5

Return to the left hand side of your necklace again and make a vertical double half hitch knot. (Step 3) Complete another row of vertical half hitch knots. ST EP 6

The final row begins on the right hand side. Use the first length of yarn to work horizontal double half hitch knots from left to right across all cords. ST EP 7

Cut the ends of the yarn to your desired length. Mine are cut in a â&#x20AC;&#x2DC;vâ&#x20AC;&#x2122; shape with the longest measuring 6.5cm in the middle to 3.5cm on the outside. ST EP 8

Complete your necklace by knotting the ends of your leather or cotton cord around each other to make the length adjustable.

Modern Macrame Necklace - Pattern

K N OT S


59 B EG P C - beginning popcorn B L / B LO - back loop/back loop only B L SC - back loop single crochet C H - chain D C - double crochet F DC - foundation double crochet F LO - front loop only HD C - half double crochet P C - popcorn SC - single crochet S K - skip S L ST - slip stitch STS - stitches S P - space T R - treble crochet * * [ ] { } - repeat instructions between

asterisks or brackets for the specified number of times. S P EC IA L ST ITC HE S

Popcorn and beginning popcorn â&#x20AC;&#x201C; tutorials on pages 23-24. FO U N DAT IO N D O U B L E C RO C HET

Ch 3. Yarn over and insert hook into the 3rd ch from hook, yarn over and pull through one loop (3 loops on hook). Yarn over and pull through one loop (ch made). Yarn over and pull through two loops twice (same as a normal dc), first fdc complete. 2 N D A N D EAC H S U B S EQ U EN T F DC

Insert hook into the bottom ch of the first fdc, yarn over and pull through one loop (3 loops on hook). Yarn over and pull through one loop (ch made). Yarn over and pull through two loops twice (same as a normal dc), next fdc complete. D O N â&#x20AC;&#x2122; T KN OW HOW TO C RO C HET O R KN IT ?

We recommend craftyarncouncil.com for great tutorials and articles on learning the basics.


CHUNKY

KNITS by Jo


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