CRAFTNICITY

Marianne Isager On Ethnic Knitting

(Following is an excerpt from the Winter 2008 issue of Black Purl Magazine.)

Ethnic knitting (also called global or worldly knitting) describes ethnic knitting techniques and traditions around the world.  However, technique seems to be just one way of looking at it.

Like any art form, individual interpretations vary.  Ethnic knitting is as much about the designer and their inspiration, the yarn, and the landscape as it is about technique itself.

To discuss ethnic knitting, I was joined by knitwear designer Marianne Isager, author several books, including Out of Africa, Japanese Inspired Knits, and Classic Knits. Our virtual get-together brought about provocative and enlightening discussions on inspiration and passion and on what moves her to create beautiful knitwear.

On inspiration…
"I don´t use the ethnic techniques. I still knit exactly the way I learned to knit as a young girl. I’m often amazed to see knitting techniques from other cultures, such as the knitting men from the island Taquile in Peru, with their very thin and fine needles  I do, however, feel very inspired by the ethnic patterns. This can be patterns found in woven or embroidered textiles or even in pottery, which I have used a lot in the INKA book. I am not so much into techniques but more inspired by the visual feeling and the colours I see. It also inspires me that I find the same symbols and patterns all over the world, just used in different ways."

"I guess it just talks to my feelings. Like a child who has just learned to draw and wants to copy what she is seeing, some of these patterns are so plain and knittable—you just have to make it. I am not inspired by the complicated patterns.  It is always the plain and simple patterns which touch my fantasy. And working with knitting, I want the work to be nice and simple to do. It gives a more beautiful result in the end if the knitter has been able to relax and have fun during the work. I don't want the yarn to be forced into patterns which are not natural for the structure of the quality. The aim is always to have the yarn, the pattern and the knitter working together. This gives the absolutely best result."

On passion…
"It is not so much the knitting technique that shakes me, but more the tradition and the patterns being given from one generation to the next, sometimes and hopefully with a new twist. I am not knitting the way my mother or my grandmother did…Oh yes, the stitches are the same but I use these stitches in a new way. This is the thing which always shakes me when I study patterns—the little twist from one generation to the next. Even my daughter, who is also a knitter (www.amimono.dk), works with the same patterns as I do, and she just finds another way to use them."

In the Studio with Prudence Mapstone

Though we’ve never met, I feel as if I've known fiber artist Prudence Mapstone for years.  After all, in the world of freeforming (a method of knitting and crocheting usually worked without any patterns), Prudence is a maverick.  Prudence lives in Australia and travels extensively, so I was thrilled that she took the time to speak with me about her work. (Excerpt reprinted from the Fall 2007 issue of Black Purl Magazine.)

How did you come to freeform?  That is, had you always followed patterns and tired of it or simply wanted to free yourself and try something different?
PM:  I have been knitting for almost as long as I can remember, having been taught by my mother when I was a small child.  I could read knitting patterns and was making sweaters by the time I was about 10.  I started crocheting as a teenager in the ‘60s, when hippy garments were in fashion.  But I didn’t ever buy a crochet pattern, and didn’t know the names of the stitches that I was ‘sort of’ duplicating just by guesswork.

I managed to crochet round medallions and join them together for ponchos and such long before I figured out how to create ‘corners’ in my motifs…so I went out in granny circles when everyone else back then was wearing granny squares.  In the ‘80s I designed and made a lot of complex intarsia picture-knitted coats….but making too many of these for too many years eventually led to a lot of pain in my arms.  All of my freeform experimentation came about as way to still be able to do what I loved doing, without putting too much of a strain on all the muscles that were objecting due to overuse.

Your work mainly focuses on crochet and knitting.  Do you do other needlework? 
PM:  I recently completed a coat where I first fulled an old commercially-knitted fair-isle sweater in the washing machine.  I cut it up into organic shapes and crocheted various bits and pieces onto the edges to create random patches, and then joined everything together using a combination of lacing and needle-felting. 

Do you ever incorporate other needlework in your freeform pieces?
PM:  In the past, I have also added surface embroidery and beading to some of my other creations.

What is your biggest challenge in teaching freeform techniques? 
PM:  Sometimes beginner knitters or crocheters take to freeforming more readily than those who have already learned all the ‘rules’, but that is not always the case.

I would imagine that people want to hold on to getting it right and learning the stitches.
PM:  In workshops I usually start people off with certain stitches and motifs that I know will give them a good feel for freeforming, but will still enable them to make a patch that doesn’t go out of shape.  It is by no means necessary to keep the work flat and in shape, especially if you are making a cushion, wall-hanging or a very theatrical garment

But for those who want to eventually wear their creations, most times they would wish to avoid unintentional lumps and bumps that will add on the inches!  And normally they wouldn’t want sections of fabric that aren’t going to drape well or feel comfortable to wear.  It takes either experience or a certain innate talent to be able to keep things flat when you are working multi-directionally over a large number of stitches whilst using a lot of different yarns.

But working with just a few stitches at a time in any direction, and gradually building up smallish patches, makes it easier to create areas of freeform fabric that are flat and flexible.  Once you have enough of these patches the possibilities for joining are almost infinite.

How does your life in Australia or the landscape of Australia show itself in your freeform needlework design?
PM:  I think that the intense light in many parts of Australia makes us see color in a different way to people in other countries.  When I taught in Denmark I’m sure that a lot of the knitters couldn’t have ever imagined themselves wearing anything as colorful as some of my garments.  In the back of my mind I always felt that people would want to dress in bright colors to cheer things up in gloomy weather, but it appears that we mostly dress to blend in with our environment.

Sheep, Goats, Fiber and a Revelation

(The following is a guest post from Liz Fox of Knitty Kitties.)

My nephew was turning 40 and a surprise party was planned at his new home in Maryland.  I planned the route to see if there would be any fiber along the way.  The best part of taking a road trip is finding a new yarn store.

At first, I didn’t see anything that looked close enough or interesting enough to re-route.  But within just a few clicks, I found just what I was looking for. And it was the weekend of the party!

How serendipitous…I had to go.

I planned my route, giving me enough time to get there, get lost, look around and of course, buy yarn and get to the party at the appointed hour.

As I got off the highway and started down a winding road, I saw the Yellow signs pointing their way to the Artisan’s Spring Studio Tour.

I double-checked to be sure I had the right studio.  I turned into a gravel driveway, saw a sign that the studio is open, but saw no one around.  I turned around and headed down the road.   By now it is getting late and I was thinking that maybe the Tour was over for the day. I passed the turn to my nephew’s house and thought “hmmm..I just can’t be this close and not have a second try... So I turned around, found the sign and saw a second driveway just a few feet from the first.  I turned in and, voila!  Dancing Leaf Farms.

Sheep…goats…fiber…it was heaven.

Dancing Leaf Farms, a small cottage studio/shop, is only open on special days and by appointment. They will be at Maryland Sheep and Wool this weekend.  Dalis, the owner, hand dyes a variety of yarns and roving, some from her sheep. Also available are knitting needles, felting needles, glass buttons and jewelry.

I bought some beautiful hand-spun/hand-dyed yarn, some roving to practice my spinning and buttons for my latest work-in-progress.

As soon as I walked to my car, it hit me.

THIS is what I want to do.  I want to have my own shop.  I want to be out in nature.  I think I want to raise some sheep and spin their wool, dye it and knit with it and sell it…

For so long now I have felt at odds with my career but never really knew what I wanted to do.  So that is my dream.  I am headed in that direction.  I am learning to spin with a bottom whorl spindle.  Next step – dyeing….

Then finding that perfect spot with some grass and sheep…

(The Artisan’s have their open house 3 times/year - Tour dates in 2009 are April 17, 18, 19; October 9, 10, 11; December 4, 5, 6, 11, 12, 13.)

 

Liz Fox has been a crafter all of her life. She learned to crochet from her "Gram" and got her love of crafts from her Grandma Alice. She took up knitting a few years ago and found her passion.  Liz's favorite knitting times are during the Steelers and Penn State football games, all sporting events, and at Broadway musicals.

Taking the Leap: A Designer's Journey

I know you've thought about it. But, have you done it?

Have you sketched, swatched and submitted a design for publication?

If youre still in the thinking about it, analyzing it, procrastinating stage, read on. It's just what Rhonda Davis, aka TurquoizBlue experienced until she took a leap of faith.

How did you finally shift from being an information gatherer to submitting a design?
I had thought about attempting to design crochet professionally for a long time.  I always told myself that "one day" I would do it.  It wasn't fear that held me back.  It was procrastination, overanalyzing the situation, and a lack of impetus to take action.

The thing that lit my fire was one Sunday at church when the pastor said that the first part of turning a dream into reality was to have a vision and that the next step was to write your vision down in order to make it a reality.  He said there is something about writing it down and creating a plan that sets things in motion and that talking about it is not enough. He kept saying "write it down and it will be made plain to you."   At that point I told myself I was going to stop just talking about it and actually do it.

So I decided I was going to go for it, put my designs in writing and prepare a submission.  At that point I didn't have mentor so I read the guidelines thoroughly, prepared my submission package, and prayed I'd done it correctly and that the editors would like my work.

After I sent off that package, I had to wait months before I knew whether my design was accepted.  During that waiting period, I changed, and I became flooded with ideas for submissions.  I continued to put everything in writing.  I no longer had any hesitations, and I started sending out lots designs.  I even had some rejections before my first submission was accepted.  I didn't let that deter me.

Now, I have more ideas than I could ever possibly use.  I try to write them all down before I lose them.  I now have journals full of idea, sketches, potential proposals, half-written patterns, etc.  Unfortunately, my new battle is the lack of time to create.  Once I tackle that, I expect to produce lots more work.

Since having her Mulled Spices Afghan pattern published, TurquoizBlue is sharing her experiences as a new designer and has outlined 8 tips to preparing a crochet submission package. Her tips are fantastic and can be modified to fit almost any needlecraft.

I look forward to following her journey and hope it encourages you to start yours.

(Photo courtesy of Jayel Aheram)

Connecting to Nature: The Milkweed Project

Thousands of stitches -- Hundreds of artists -- One art installation. The Milkweed Project, a one-of-a-kind collaboration of artists and crafters, will be assembled to resemble the look and feel of a milkweed pod; soft and ethereal, yet powerful.  I...can't...wait!

Shan Bryan-Hanson, artist, teacher, and The Milkweed Project's architect, shares her thoughts about the project and on capturing the shimmering moments in our lives.

One of the things that attracted me to The Milkweed Project was that it seems to be a cross-training exercise in natural beauty and gratitude. Much like skiing develops the thigh muscles, which in turn could improve a bicyclist's performance, this project trains you to see beauty in a different way.  For example, seeing the beauty and interconnectedness of stitches might help someone see that same beauty in leaves. Has being part of this project cross-trained you or your work in other areas?
I love your reference to the project as a cross-training exercise in beauty and gratitude. My guess is that yes, the project has cross-trained with my work in other areas, but since the project is in its early stages, I don't yet have the objectivity that comes with time.   
 
It's a joy to be in contact with so many creative people via The Milkweed Project.  When I create a painting, I have the luxury of being in control of all aspects of the process.  This is also a limitation.  The success of The Milkweed Project is dependent on many people which has, for me, been an exercise in letting go.  Comments and ideas presented by project participants are definitely enhancing the full vision of the project, which has been a lesson in the power of collaboration. 


Our eyes take in so much at one time. It's odd, but it seems that we have to force ourselves to notice the simple beauty like the trek of an ant or a leaf falling to the ground. Your paintings capture the simple in a dream-like way. They make a statement that say "honor me." How do you suggest artists and crafters develop their eye in recognizing and honoring the simple beauty?
I appreciate your thoughtful insights regarding my paintings.   I once heard a man describe the birth of his grandson as a "shimmering moment."  There is much pain and suffering in a human life, but there is also much beauty.  Our days are dotted with shimmering moments.

 My advice is to be alert to these moments and to record what you see; write about your shimmering moments  in a journal, sketch them, photograph or paint them.  The practice will lead you on a journey of discovery and your records will become a document of your own aethetic vision. 
 
Also, go to museums and look, look, look.  It's a wonderful way to develop your artistic eye. 
 
 
Is there any other information you'd like to share about the project?
I recently read these words, attributed to the Buddha, "“When you realize how perfect everything is you will tilt your head back and laugh at the sky.”  I invite your readers to laugh at the sky with us a bit and by participating in the The Milkweed Project.  The project will be open to new artists and crafters for a short while longer.  We are also looking for exhibition venues, so please contact me with any suggestions.

GIVEAWAY!!! Win this beautiful, handcrafted wooden crochet hook from BrainsBarn. The hook is black walnut with captive ring, size I (5.5mm). Enter the drawing by commenting on this post (today only).

Connecting to Community: Safari Travels with Needle and Thread

(The following is a guest post from Leora Raikin with African Folklore Embroidery.)

I cannot remember a time when my mother was not stitching, sewing or baking and my father did not have a hammer in his hand building. I grew up in Cape Town, South Africa.

My parents and grandparents encouraged in their children a love for creating with their hands. My mother sewed most of our clothes, my grandmother was a seamstress and my father made our toys, including slides, puzzles, tree houses, educational toys, book shelves and much more, out of wood. My grandfather had more hobbies and crafts than I can list, and promoted in us an active desire to learn something new every day.

Like most African traditions that are passed down from mother to daughter, father to son, I learnt African Folklore Embroidery from my mother. Since I have a son, I have passed this art form on to him, and he has in turn taught his friends and classmates. 

Since it takes more than twenty hours to travel from America to South Africa, most people will never have the opportunity to experience Africa, the joy of seeing animals up close on a safari, or be exposed to cultural traditions and customs so different from their own. Welcome to the colorful and creative world of African Folklore. My book, Safari Through African Folklore Embroidery: For All Those Who Love Beads, Fiber Art, Colors and Fabric, brings Africa to you and allows you to get a small taste of Africa, its beautiful, diverse and vast cultures and traditions all through African Folklore Embroidery, a multi cultural visual fiber and bead art.

Whether you are an accomplished quilter, sophisticated stitcher, awesome knitter or have never held a needle before, you will be stunned by the ease and beauty of African Folklore Embroidery. The bright colors against the black fabric create a wonderful contrast and the use of chain stitch gives the embroidery a slightly three-dimensional, raised appearance.

Like most ethnic embroidery, chain stitch is the dominant stitch in African Folklore Embroidery. Chain stitch is a very rhythmical stitch, a stitch that flows beautifully and quickly, and is easy to do while doing other things such as chatting with friends, watching television, riding on a plane or train, or watching a basketball or soccer game.

I hope this visual safari through African Folklore Embroidery and the teaching of the various stitches and techniques interweaved with information about various tribes and their customs and traditions, along with African wildlife, will give you a small taste of Africa, its rich beauty and culture.

GIVEAWAY!!!  To encourage you to take that safari, Leora has offered to give an African folklore embroidery kit to two readers. Comment below for your chance to win (today only).

Connecting to Passion: Crafts, Drama and Glitter

When I think about living a passionate life, I think of Crafty Chica, Kathy Cano-Murillo. When it comes to crafts, she definitely wears her passion on her glittered sleeves. A columnist, artist, branding expert, and author (I'm sure I'm missing a few...hundred titles), Kathy is one of the hardest working creative women I've met. She shares a bit about her creative process and passionate living.

You're such a prolific artist. It seems as if you have to create. I envision your craft process like a swirling tornado of creativity that settles into something beautiful. Is your process chaotic order like that or is it a more meditative process?
It's a little of both. I get my best creative bursts while I'm doing things like cleaning the kitchen, driving, or trying to sleep at night. I daydream about crafts. In my daydreams, when an idea comes, it has rays glowing from it and I hear an angel chorus of "Laaaaa!" And then I can hardly wait to go make it! I hurry up and finish my chores and then head to the art room to make the ideas happen. I also like to sketch and brainstorm ideas. If I go into the art room and say, "what should I  make?" I get stifled, because I'm thinking too hard about it. But if I just go on with my daily life, the ideas come to me naturally. Sometimes it means staying away from the art room until the magic happens.

We hear the same advice all the time -- do what you are passionate about. How does your passion for culture and crafts play a role in your daily life of crafts, drama and glitter?
I have always stuck to making things I love. As soon as I try to follow a formula or copy an idea, it falls FLAT. Therefore, I celebrate the things I love, the things that make me happy and they become the themes and foundations for what I make. As far as crafts, drama and glitter - those are natural things that go together. We craft because we are expressing ourselves, and there is always drama in daily life with family, work, etc. But my goal is to always have everything end with a sparkle - that is where the glitter comes in. 

Do you ever make (or have you ever made) anything that you're not passionate about?
Yes! I write a weekly craft column and sometimes it is hard to make projects to fit the different holidays and keep them fresh. Also, I have to show different genres from week to week. It can be hard, but I like it because it has trained me to cross-pollinate craft techniques and has pushed me to be a better artist. It is good to break out of your comfort zone! In the end, I end up being passionate about it :-)

Do you have any advice you'd like to share with other artists and crafters on living passionately doing what you love?
Keep doing it and if you want to grow a brand with it, make use of the networking sites, interact with others, share ideas. Take pictures of everything! Look into teaching workshops, taking workshops, writng press releases, etc...

GIVEAWAY!!! Kathy Cano-Murillo has offered to give one signed copy of her latest book, Crafty Chica's Guide to Artful Sewing: Fabu-Low-Sew Projects for the Everyday Crafter. Leave a post-related comment for your chance to win (today only). 

Connecting to Culture: Embrace the Fabric

I was thrilled to chat with Lisa Shepard Stewart with Cultured Expressions on embracing the culture through beautiful African fabric.

Even though many of us love African fabrics, we don't seem to know much about them much less what to do with them. We know Kente cloth and that's it. By including so much information about authentic techniques and history, your books act as a cultural bridge. Was teaching readers to connect to culture through fabric and decor your intention with your books and website?
Yes, exactly!  One of my goals in writing the book was to give readers an appreciation not only for the fabrics, but for the cultures that produce them.  So the first chapter of African Accents: Fabrics and Crafts to Decorate Your Home explains the cultures and what roles the fabrics play in them, as well as how they are made. Understanding their traditional uses, the meanings and symbolism they carry allows you to find creative wasy to use them in your decor.  I also wanted to lessen the "intimidation factor" that many DIY'ers experience when thinking of how to decorate with bogolan (mudcloth), kente, kuba, korhogo, batiks and others.

My goals was similar for my second book, Global Expressions: Decorating With Fabrics from Around the World, which offers an expanded introduction to textiles from nine different regions of the world, including Turkey, Japan, Panama, Zimbabwe and more.  With this book, you begin to recognize the similarities in the cultures through their textile artistry as well as their uniqueness.  Then, by making the projects you can create useful, practical items with cultural relevance. You've taken the fabric to another level and created your own story through your finished decorative accents.

In my trunk shows and workshops, there is often someone who tells the group about a piece they purchased or received as a gift, and they keep it boxed up in the closet instead of enjoying it, for lack of inspiration.  It's my intention that they'll will find the inspiration they need in my books, to liberate the fabric and enjoy it!

I Want to Meet: Roland L. Freeman

Roland L. Freeman is the Founder and President of The Group for Cultural Documentation (TGCD). TGCD's mission is "documenting the evolving soul, spirit and images of tradition and cultural identity." 

A major emphasis of Freeman's work is his ongoing self-assigned project "While There Is Still Time." From TGCD's website:

"...the study of Black culture throughout the African Diaspora that uses the camera as a tool to research, document and interpret the continuity of traditional African-American folklife practices. This work is generally done in close collaboration with folklorists, historians, sociologists and community activists, often in methodologically innovative ways that have been integral to his contributions to the work of photographers of his generation."

Mr. Freeman  recently curated the exhibit, "Quilts for Obama: An Exhibit Celebrating the Inauguration of Our 44th President. The exhibit is comprised of over 60 interpretive quilts.

The Sum of My Strands

"Crafting is a way for me to weave myself into the world's greater tapestry."

"I draw a lot of inspiration from the world around me.
Often I will see something -- a leaf, an image, a pattern, a story -- that will inspire me
to start a project or take an existing project in a new direction.
The sum of my strands of projects create a quipu of sorts,
tracking my movements through time and space and yarn
in a record of threads."

~Paloma from Texas~