July 07, 2014

The Simple, Complicated, and Complex

The rate at which I do fibre arts projects, it can vary.

I'll stall and drop momentum until I can get help or get in that useful state where desire for the finished object exceeds the reluctance to face the technical problem.  It is usually a technical problem, like getting gauge or sourcing materials.

Simple and small or weird and complex with original stuff to figure out, somehow with those I'll move along at a good constant clip.  I've made quite a few babies happy this year with Norwegian Sweet Baby caps.  I tried weaving overshot and found it as easy as promised.  My experiments in the technique of språng were diverting.  Unfortunately they are the sort of projects that don't get me moving directly toward my goals.  If velocity matters, value matters too.  I want finished objects for me.  Actual wearable clothing, not accessories, for me, out of local traceable materials that are naturally coloured.  Anything else is practice.

What I want is complicated, by which I mean complicated to achieve.  It means a narrow choice of materials, long-term projects, and realization of a specific aesthetic and fit.

I have begun a sweater for me, in natural grey Romney commercial aran yarn from the Salt Spring Island Wool Co.  I picked Alice Starmore and Anne Matheson's Cullercoats, a cabled sweater pattern published in the early 80s.  The cables and border designs are attractive, the lines are dated.  I mentioned the pattern on this blog a few years ago, writing, "I don't know if I have the high level of understanding and stern degree of determination I would need in order to alter it to suit my taste."  

I've written the modifications, I've gotten gauge, and I've started a sleeve.

Norwegian Sweet Baby cap, swatch for sweater

SSI Wool Co.'s sheep pasture with Romneys

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