March 18, 2015
by Emma
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Stash Stats

One of the fun things about being part of the knitting community on Instagram are the Instagram equivalents of ‘chain letters’, so to speak, where one person tags others to share a particular type of photo or factoid about themselves. Yesterday I was tagged by fellow designer Andrea Rangel to share what color dominates my stash and I admit, I wasn’t sure going off of just memory! I decided to cure my curiosity and take some time to reorganize my stash, which has been on my to-do list for awhile. I started with the konmari method of emptying all of the possessions in question (yarn) out on the floor so you can see them in their glory–and maybe so you can be shamed by how much you actually have? Whatever works!

Then I got inspired and arranged my stash by color:

rainbow stash

ALL THE PRETTIES! This photo (and the corresponding data in the rest of the post) includes my unused stash and any mostly-full balls I intend to keep. There is a whole pile not shown of yarn I am destashing and leftover bits I am tossing out. Remember: I am coming up on 5 years of being an employee at the largest yarn store in America, so not only do I have access to a lot of yarn I also have a sweet employee discount. Sowwy! I would estimate that I paid full retail price for less than 10% of this, what with that awesome discount plus there is some free yarn support for upcoming designs in there. (Design yarn gets stored in a separate bag but joined the rest for this photo!)

I’m not really a stats person but I decided to play around with some numbers after seeing my stash laid out like this. Here are two ways to process that picture: stash by color and stash by weight! For both I counted individual skeins, not by potential project.

Stash by Color ChartGreen is my favorite color so no surprise that it takes the top spot with 21%! Grey is next with 14%, followed funnily enough by natural and pink at 12%–both colors which I like but don’t particularly feel are favorites of mine. If you asked me what my favorite colors are, after saying ‘almost everything’ I would settle on green, yellow and orange. Yellow is in the middle of the pack at 9% and shockingly….no orange yarn! Though I do already have an orange sweater, I guess it filled my orange yarn urges well enough that I didn’t buy anymore. (And I have an orange purse.) I’m not surprised at blues, purples and reds making up the bottom of the pack since I don’t feel a strong attachment to any of those colors. Seeing as there is no clear majority (I don’t even have a color with 30% or more hogging my stash) it’s obvious from this photo that I am rainbow-friendly. I feel this is an accurate representation of my openness to colors in my yarn stash and by extension, in my personal wardrobe!

Stash by Weight ChartSorting my stash by weight surprised me more than the colors did. While I’m not surprised that worsted holds the majority share at 34%, I’m surprised to see fingering come in at second place with 27%. I am not a huge shawl or sock knitter, though I do like knitting and designing both. When examining the fingering weight pile more closely, however, a trend emerges–I stash sweater quantities of fingering weight faster than I design/knit fingering weight sweaters. Oops. Guess I gotta get on that for 2015! I feel like I knit with DK weight a lot but quite possibly I wound up using all the yarn for those projects, or they were for outside publications in which case I don’t get to keep any leftovers. I have two sweater quantities of bulky weight which drives that up to 13%, and since I rarely use laceweight I’m not at all shocked that comes in last place with a measly 5%.

What does all this mean? Well, odds are that if you reach into my stash at random you are most likely to pull out green, fingering weight or worsted weight yarn! Aside from that….I have too much yarn! Keep an eye on my Ravelry destash page this week if you want a chance to get a piece of this pie.

February 26, 2015
by Emma
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Playing with Color: Stripe Quartet

Let’s dive into another color-driven design, shall we? Stripe Quartet is a great simple, stripey cardigan using Baah Aspen. Mira (of Baah) and I picked out the colors together at TNNA last May and it was wonderful that we had similar thoughts. I’m super pumped she let me throw that orange in there because I love orange!

There are two ways to approach a project like this, in my opinion. First is to use two neutrals and two color pops, which is what I did with my sample using two greys, hot pink and orange. There aren’t many neutrals currently in the Aspen color line, so let’s pick out a few different color pops that could be subbed in using the same greys as I did, Shadow and Grey Onyx.

coralreef sirenaClockwise: Shadow, Coral Reef, Grey Onyx, Sirena

I’m really digging that Coral Reef color! But how does it look with other ‘pop’ colors?

coralreef pecheClockwise: Shadow, Coral Reef, Grey Onyx, Peche

coralreef fuchsiaClockwise: Shadow, Coral Reef, Grey Onyx, Fuchsia

Sirena and Fuchsia are the more startling/weird color combinations with the Coral Reef but come on, I like weird! If you’re going to do a four-color striped sweater I say have fun with it and go outside your comfort zone. :) Peche and Coral Reef is a tonal, more muted version of the original sample. Each of these combinations has a mix of warm and cool colors, which I think is important to consider when knitting multi-color designs. (Shadow, Grey Onyx and Sirena: Cool; Coral Reef and Peche: Warm; Fuchsia: Debateable.)

Another way to approach this project is by picking 4 shades in the same color family for a more gradient effect with less contrast. This option is dependent on your yarn of choice having lots of colors in the color family of your choice, and Aspen is somewhat limited here–you can’t do an all-yellow Stripe Quartet, but not many dyers offer a multitude of yellows anyway!

bluetopaz sirena navy skyClockwise: Blue Topaz, Sirena, Navy, Sky

These four blues create a balanced pairing since the top row features warmer blues with turquoise/teal influences and the bottom two colors are straight blues, almost a little greyed out. A great example of warm/cool mix while staying in one color family.

amethyst fuchsia aubergine violetClockwise: Amethyst, Fuchsia, Aubergine, Violet

Another beautiful and subtle palette that combines warm and cool purples of all hues!

Which way do you prefer your stripes–funky and off-beat or tonally united?

February 4, 2015
by Emma
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Playing with Color: Gilt Sweater

One of my favorite things to do in my part-time gig as LYS employee is to help customers pick out color combinations for multicolor projects. I feel like I have good color sense and my coworkers ask for my opinion on colors which helps reinforce this idea, even if it is all in my head! I tend to go by instinct and don’t follow a strict set of rules, though I do keep the varying values of the colors in mind when picking 3 or more for a project. Since I love color, a good number of my designs feature multiple colors and as far as I’m concerned, the quirkier the better! I know a lot of people don’t trust their color sense or can have a hard time envisioning a design in other colors, so I thought I’d introduce a mini series on playing with color. Each post will examine a colorful design of mine and I’ll showcase some other potential color combinations that I think would work along with tips on how to approach choosing colors for that particular project.

Up first is the Gilt Sweater! Since this design relies heavily on an ombre effect, you really need to pick two yarns that are closely related in order to duplicate this same effect. If you always order your yarns online, this can be really hard to do! I would suggest picking out several possible color combinations and then looking at other people’s projects on Ravelry in those colors to see how the color reads across multiple cameras and lighting situations. I definitely suggest using a hand-dyed yarn to enhance the color blending, which also means that you have variation across dyelots to contend with. If at all possible, I’d visit a LYS or two and check out colors in person to find the best combination.

Let’s take a look at Malabrigo Lace, the yarn called for in the pattern. Malabrigo arranges their colors by family, which really helps in choosing for this project since all the blues are next to each other, the yellows in a separate section, etc. Take a look at the blues.

blues

Often you’ll see a perfect combo right next to each other, like Blue Surf & Jewel Blue, Bobby Blue & Tuareg or Tuareg & Azul Profundo (for a darker usage of Tuareg). Other times you’ll want to mentally rearrange the colors to find a better pairing, but you can also do so in a computer program like Photoshop or Paint if you’re having trouble seeing the two together. Stone Blue & Paris Night are separated on the website and look great together!

stoneblue parisnightStone Blue & Paris Night

Try identifying the primary hue in a color that draws your eye, and then look for a lighter or darker version of a color that carries the same hue. IE, if you’re attracted to blues that lean green/almost teal, look for another blue that contains green rather than a purpley blue.

Here is a rainbow of color combinations for a rainbow of Gilt Sweaters!

apricot tigerlilyApricot & Tiger Lily

cactusflower mollyCactus Flower & Molly

verdeesperanza cypressVerde Esperanza & Cypress

jacinto purplemysteryJacinto & Purple Mystery

cognac marronoscuroCognac & Marron Oscuro

Notice that I chose the semi-solid, less crazy colors of Malabrigo. While I think you could successfully make a Gilt Sweater using a more variegated colorway and a coordinating semi-solid, it will be harder to pull off (especially without buying the yarn in person) and the end result will likely be a different looking sweater. That’s ok! Just be aware of what look you are creating and swatch heavily, especially if you are trying to avoid an obvious transition line between colors.

Now go out there and show me some fabulous ombre color combinations of your own!

January 31, 2015
by Emma
4 Comments

An Open Letter to the Fiber Factor

Dear Fiber Factor,

I was very excited to hear that you were coming back for a second season. I wanted to apply for the first season, but at the time was in the process of interviews for an exciting job (that didn’t pan out, as luck would have it) and didn’t want to risk the two events colliding. The second season is coming at a perfect time for my career, I thought. I am a better designer now. I can work faster. I have worked within specific frameworks to satisfy clients (yarn companies) which would serve as valuable practice for the challenges. So I waited, and I refreshed your website multiple times on multiple days until the official rules for Season 2 were posted.

Unfortunately, the new Fiber Factor is no longer advantageous to an indie designer. I realize that you are in this to make money (as Skacel), and you needed to adjust the process to create more revenue for yourself. It’s a business and I get that. But I am also in business and I need contracts that respect my needs and my ability to make money. I saw that you responded to one knitter on Twitter who expressed dissent and asked her what she thought the contract for the winner should include. This is my perspective as a designer.

I think putting the challenge patterns on Ravelry is a great, fresh idea that helps the designers get more attention for their participation in the competition and helps you by catering to the wishes of the viewers. However, I feel that you have greatly underestimated and undervalued the time and effort it takes to prepare a pattern for purchase. Writing and grading a pattern alone takes hours, and that’s before the knitting even starts. Then of course, you are requiring financial investment on the part of the designer by requesting that the contestants cover the costs of tech editing and photography (unless the contestant is already a skilled photographer and can photograph their own work, but not all of us are so lucky.) Tech editing and good photography are essential investments that drive pattern sales and help preserve a designer’s reputation for quality patterns, so it’s best not to skimp here. If you’re not the one person to win $500 per challenge, you might be able to win $100 but depending on the rates one receives from their editor and photographer, that $100 might not result in any profit for the designer after those expenses. And we are doing this all for 20% of sales for the majority of 18 months? The only arrangement I currently know of where a designer agrees to 20% of sales is one of the digital revenue options with Interweave–and the designer has already received a flat fee for first publication rights AND can sell the pattern themselves at the same time as they receive the 20% of sales made through Interweave’s digital store.

The grand prize for the winner of the competition is a $10,000 design contract which sounds generous until it’s broken down. $500 per design, for 20 designs to be completed in 20 months. Now I have little issue with the first half of that statement, since $500 per design is in line with current fees for garment first publication rights and is more than is usually paid for accessories. (Though I assume you are keeping all rights in perpetuity, which is a slightly different game and thus worth more.) 20 designs in 20 months…is almost laughable and a little insulting. If I was able to work at that rate, I would probably already being doing so for myself wherein I keep 100% of the profits. Many of us are indie designers because we WANT to be indie! I’m not interested in working at that pace which is why I work for myself and not someone else. That timeline may be the norm for yarn companies’ in-house designers, but those individuals are getting paid a full salary with benefits in return for producing large quantities of designs in a condensed timeline. $10,000 doesn’t wind up staying $10,000 after self-employment taxes are paid, after all. Assuming the designer knits all of the 20 design samples themselves, they likely won’t have much time to focus on producing for their own business in this time period. The alternate option is to hire sample knitters which cuts further into that $10,000.

Essentially, the competitors (and then the winner) will be putting their personal businesses on the backburner to enter this competition. Do you think your terms are worth that sacrifice? 9 months is a long period of time to not produce work; 29 months is even longer. The promise of exposure alone has no proven financial value, whereas indie designers have noted multiple times that more designs=more sales, new releases=more sales (of the new release and older work.) I can’t imagine that seasoned indie designers–the type of talent you want in your competition, the type of talent that already has fans, an Internet presence and can create amazing designs–will be interested to enter. How many of the Season 1 contestants would be willing to accept these terms? I’d be interested to find out, wouldn’t you?

Fiber Factor, I hope you can take this as constructive criticism and maybe think about how you can improve this season to make it equitable for all: designers, viewers and yourself. I trust that a better balance can be reached.

Respectfully,

Emma

December 27, 2014
by Emma
0 comments

Golden

The Spring 2015 issue of Knitscene will be out shortly and I have two contributions this time around. One is a fun article about warm-weather knitting projects and the other is the Gilt Sweater.

Gilt-Sweater_medium2All photos by Knitscene/Harper Point Photography

This was sparked by the ‘golden’ color story on the mood boards. As I’ve mentioned before, sometimes I have ideas that just come to me rather than being drawn from specific photos or references and this sweater was one of those lightbulb ideas. I wanted to create a relaxed layering sweater, a transitional piece that was cozy like a sweatshirt but a little more refined. Hence my working title–Luxe$hirt! I think I said to Amy in my proposal that ‘the $ is like Ke$ha’, ha. It also explains my seemingly random designer blurb at the end of the pattern. I’ve been having fun with writing those lately, and I at least laugh at myself even if no one else finds them funny!

comboThe most striking part about the sweater is the gradient color transition, made possible by two gorgeous colors of Malabrigo Lace held double. The bottom is two strands of Color A, the middle is one strand each of Color A & Color B, and the yoke is two strands of Color B. It created a super luxurious fabric that’s warm without being heavy–like a golden cloud! Extra deep ribbing on the sleeves, a boxy cropped fit and the raglan sleeves are all meant to keep it casual and sweatshirt-like. The small lace detail at the collar is supposed to mimic old school sweatshirts with the triangle insert at the neckline.

Knitscene-Spring-2015-Golden-0068_medium2The styling and setting for these photos is super cute and I couldn’t be happier!

November 20, 2014
by Emma
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Cats Cats Cats

As promised, the second sweater from the caboose photo shoot: Cables ‘n Cats!

IMG_1215 (2)smPhotos by Lindsey Topham

This sweater has no particular inspiration, which is how I work sometimes. I was playing around with juxtaposing various cable and texture patterns together and fell upon this combination which I really liked. It’s a classic, simple shape overall but very flattering thanks to the waist shaping and the large cables which sit at a princess seam orientation. And then you turn around to reveal….cat buttons!

IMG_1353smestThe sleeve cuffs are also buttoned and each button features a different kitty! I love this style of buttons–I used them in my Brooklyn Bridge Mitts, and I have robot buttons in my stash waiting for the perfect sweater.

blogThe construction is a little interesting towards the end, but nothing crazy complicated. The body is worked in the round until the armholes, then the sleeves are worked separately (also in the round) and joined together with the body to work the yoke in one piece….at first! Once stitches are bound off at the center back for the button placket, the yoke is worked back and forth in rows. Then as the neckline shaping begins, you work back and forth on one side of the body at a time (going from the front neck across the shoulder to the center back.)

You can snag Cables ‘n Cats on Ravelry now for $7.00.

November 13, 2014
by Emma
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Let’s Get Stripey

I recently released a new cardigan pattern….and never posted about it here. Oops! In case you missed it on Ravelry, this is Stripe Quartet!

IMG_1598smallestAll photos by Lindsey Topham

Knit in four colors of the gorgeous Baah Aspen, Stripe Quartet is a top-down raglan cardigan that lets the stripes take center stage. There are a few special touches, like eyelet raglan increases and a curved hem finished with an I-cord bind off.

blog

I was super excited to finally use this location! I am constantly making note of potential photoshoot locations and I had mentally bookmarked this one ages ago. These amazing blue cabooses reside just behind Green Valley Produce, a farm stand in Deerfield, MA. The owner Jon was nice enough to allow us to shoot there and I have another sweater coming soon that we took photos of here as well.

I’m a huge fan of orange and pairing it with hot pink and greys was a dream color palette for me. What quartet of colors would you get stripey with?

October 25, 2014
by Emma
0 comments

Pole Antics

For those of you new to this blog, I pole dance. I’m not a stripper, meaning I don’t pole dance to make money and I don’t remove articles of clothing while dancing with the intent of becoming partially or fully naked. (Some lovely acts involve costume changes while dancing, hence the ‘naked’ qualifier at the end.) That aside, there are plenty of similarities between what strippers do and what I do, and it would do them a huge disservice to pretend that I am ‘better’ than they are–because I’m not. Pole dancing in any situation is an extremely athletic act, and many modern moves were born in strip clubs rather than being adopted from Chinese pole or mallakhamba. I have nothing but respect for strippers–hanging from one knee is difficult enough, let alone having to do so while wearing 6″ heels and possessing the customer service skills of a waitress or hospitality industry person! Anyways, that’s not the point of this post but I felt it needed to be said. I understand the impression most people have of pole dancing though and I’m not offended if you are uncomfortable with it–feel free to skip my pole posts!

I’m performing in a Halloween showcase in a week, alongside many other lovely ladies and I just had to go full throttle…by making my own costume! Today was our dress rehearsal so I snagged some photos afterwards.

pole costumeArmed with this great printed spandex from Spandex House, my favorite source for stretch fabrics, I immediately went back to my comfort zone of sewing–aka, making shit up. There are a few practical considerations for making a pole costume, primarily in terms of coverage. Obviously I wanted something secure enough that it would stay on as I spin and invert, but you also need a certain amount of skin exposed to ensure better contact with the pole. Your knees and inner thighs are used while climbing and sitting on the pole, respectively, while your waist needs to be bare for certain inverts. In short, sex appeal is not the only reason why pole dancers wear what they do!

I used an existing pair of booty shorts as my ‘pattern’ for the proportions and shape of these ones, but added in the open side panels with elastic strapping. You can’t see it in these photos but the butt features that scrunch butt ruching that is very flattering. ;) The top was harder since this was my first time using soft bra cups and I found them really hard to place properly in the lining–mostly because the strappiness of the top meant I wasn’t able to really try it on until it was fully assembled, and I needed to put the lining in before then! Luckily, I have a small chest so I didn’t need anything more than the cups and a thick elastic bottom band to keep everything supported. The center of the bust is also gathered to match the shorts and create a more flattering neckline for my shape. And that strappy back (or backless)….perfection! Exactly what I was going for, and incredibly comfortable it turns out.

Now I just need to practice my full bracket grip until Friday!

October 16, 2014
by Emma
3 Comments

Armored

Now that the Winter issue of Knitscene is hitting newstands and mailboxes, let’s take a look at my featured designer collection! Because oh yeah….if you didn’t notice, I’m the featured designer of this issue. :) Yay!

From the beginning I decided I wanted to design thematically as opposed to separate pieces–partially for that Project Runway, fashion designer type experience but also because it excited me to create a body of work meant to be shown together. I really like thinking thematically, it turns out, so I have several collections in the works for the future (aka, stay tuned!) The inspiration for this collection is medieval armor and the story of its inception is interesting. Last year I spent a lot of time online dating and as it was the first time in my life I was actively dating and not relationshipping, I purposely set the bar low in terms of who I would accept dates from in order to expose myself to as many different types of people and experiences as possible. I had my general standards, for sure, but I wanted to avoid falling into the trap of only dating my ‘type’ (men similar to those I had previous relationships with.) Anyways, I wound up accepting a date with a guy and we went to the Higgins Armory Museum, which is now closed so I’m glad I had a chance to see it then! We took a swordfighting workshop and looked at the collection, wherein I got really excited about all the details on the armor and took a bunch of pictures with the express purpose of turning them into designs and he probably thought I was a freak. (But that’s okay because for reasons that had everything to do with him and nothing to do with my knitting freakiness, there was no second date.)

haubergeonAll fancy photos by Knitscene/Harper Point Photography, armory photos by me

The Haubergeon Sweater is most directly inspired by a specific piece I saw at the Higgins Armory, this suit of armor featuring a lattice-like pauldron (shoulder armor). I instantly saw a lattice cable pattern! I played with different shoulder placements of a cable design but threw some of them out the window for being too bulky, or for encroaching too much on the chest which I knew had the possibility of looking weird on someone with a larger bust than I. Ultimately I mashed up the idea of cabled arms/shoulders with the silhouette of a haubergeon (or hauberk), which is a chain mail shirt, giving this sweater its longer tunic length and the cropped sleeves.

gloves2

I played more fast and loose with the Gothic Gloves, historically speaking. They aren’t directly linked to a specific style of armor, though I drew inspiration from more decorative, mixed-metal pieces and jousting gloves. The cuff shape is very recognizable as being medieval-ish and I approached the mixed metal aspect with two different colors, some stripes and a small colorwork motif. I want to thank Carina Spencer for her Sugar Maple pattern–knitting that piece, with its paired increases and decreases to form the pointed hem without increasing the overall number of stitches, helped me figure out how to shape the point of the cuffs and keep the stitch count consistent.

cuirassiers copyThe Cuirassier’s Cardigan is another more artistic rendition, if you will. I saw several lovely cable-like details on suits of armor at the Higgins Armory and sought to create a simple, everyday cardigan with a few special touches. Something that was less Ren Faire than perhaps the gloves! As such, the only tie this piece has to armor are the flowing lines and small cables which grow out of an otherwise plain background. I-cord edgings are among my favorite because of how clean they are, and I felt that paired with a zipper closure instead of buttons, they helped keep this from looking too knitting-y (where a ribbed buttonband would have taken it away from the original intent.) I like the jacket/blazer feel of this piece, which was entirely unintentional!

greaves2And now, my absolute favorite piece of the collection: Ornate Greaves! Greaves (leg armor) could be quite plain but I followed in the footsteps of more decorative pairs with the kneecap cable design and purl ridges along the calves. This was extra special because I used my friend Laura’s yarn, Gynx Yarns Merino DK. I love the above-the-knee length for these, partially because of my love for thigh high socks and stockings! Practically speaking though, it’s a great choice for extra warmth and it gave me more space to play with the cable design.

In terms of yarn choice, I had two purposes. The first was to pick companies that represented something to me as a designer, and the second was to create a cohesive color story.

  • The Haubergeon Pullover is knit in The Fibre Company Organik, as I used another of their yarns for my first ever Knitscene pattern (the Mountain Nettle Shawl, in Acadia.)
  • The Gothic Gloves are knit in Brooklyn Tweed Loft, a company on my knitting bucket list to design for–maybe this will be the first step towards a future collaboration? ;)
  • The Cuirassier’s Cardigan is knit in Valley Yarns Colrain, as a thank you to Webs and the Elkins. Without my job there I might not be a designer at all, let alone the one I am today with the friends, fans and industry connections I can directly attribute to Webs.
  • And the Ornate Greaves are in Gynx Yarns Merino DK, because Laura deserved to be in Knitscene for taking a chance on me in our multiple collaborations, and I wanted the world to be exposed to her beautiful yarn.

When I first envisioned the collection, grey was the color that popped to mind because duh, metal. While a monochromatic, all-grey collection would be really beautiful, I am first and foremost a person that loves color and I wanted to showcase something more ‘me’, and an all-grey palette would not be fitting. The gloves use a neutral oatmeal and a gold for a warmer play on the silver and gold of mixed metals, and the copper of the cardigan is to represent a different metal–the warmer half of the collection. On the cooler side, we have grey legwarmers because I HAD to have one grey piece and felt a neutral color was more wearable for an accessory like this. The pullover color is a bit of a reach, but I was looking for a cool, elegant color that fit with the rest of the palette rather than being a bright pop. Purple was a sought-after color in medieval Europe, after all!

My biggest goal for the collection was to draw inspiration from armor while creating modern and wearable pieces as opposed to costume items. Because of that, it’s not a 100% historically accurate look at medieval armor but I am beyond pleased with the end result. What do you think–did I pull it off? Can you see yourself or someone you know wearing these pieces?

(Many thanks to Amy Palmer at Knitscene for accepting my proposal, the other folks at Knitscene for the fabulous styling of these garments, the yarn companies listed above for their excellent yarn support, and Robin Shroyer for writing a great article about me and for creating possibly the best interview ever!)

October 1, 2014
by Emma
0 comments

Revisiting the Kangaroo Dyer

I am extraordinarily lucky to have contact with fantastic creative people every day, whether it’s my coworkers at the store on a work day there, the myriad of knitters and designers I’m in contact with online, my pole dancing/circus family, or my friends. Getting out of my creative niche to explore someone else’s is fun AND mentally refreshing! I’ve dyed with Gail (the Kangaroo Dyer) once before, four years ago–my one and only time dyeing until recently, when she invited me back in her studio for take two. Now I’m older, wiser (lol right)….well at the very least, I was more confident in my dyeing skills this time since it wasn’t completely foreign!

2One of the more awe striking sights in Gail’s dye studio is her large collection of orange juice containers, testament to her lifelong love affair with Vitamin C…In all seriousness, friends and students donate the containers to her so she doesn’t overdo it on the OJ! Those shelves house her ready-to-go dye mixtures and the dye powders themselves are conveniently lined up behind each solution when the time comes to make a new batch.

First agenda was to dye some superwash merino worsted yarn. With the help of handy dye color cards, I picked out three colors that sparked my interest and tested them on coffee filters until deciding on the right level of saturation for each.

dyeing processThen…dyeing time! I handpainted the hanks in sections and tried to blend each color into the next to avoid any harshness.

photo 2I can’t wait to use my gorgeous yarn and see how it looks knit up!

Next, Gail offered something new–a chance to dye silk fabric! I have extensive summer camp tie-dye experience but that’s about it. Since I decided I wanted to pleat the silk before dyeing it, this part was somewhat familiar thanks to my tie-dye days! Gail helped me fold the 2 yards of silk and then roll it up like a jelly roll. I submerged each side of the roll in a different dye color before opening up the fabric and overdying in stripes. I then scrunched up the fabric before adding the final layer to create the dimension I was looking for.

photo 3I plan to sew with it and I’ve got my eye on La Sylphide (the blouse version), once I have some fun money to snag the pattern with. I love it….it’s like yummy chartreusey endivey goodness!

Gail’s studio is so cute. Her whole house in general is overflowing with her love of color and her work–there is yarn draping over furniture, drying on her front porch if the weather is nice, scraps of silk and other dyed fabrics on her kitchen table. I couldn’t help but take a few shots of of her workspace to try and share that Kangaroo Dyer essence.

studioMy creative mojo is now working overtime!