Unexpected Afghans: Exploded Pineapple Crochet

While I don’t often wander into home decor design, when I do go there I thoroughly enjoy the change-up from my usual wearable crochet modus operandi.  The beauty part of designing afghans, for example, is that I don’t have to endure the agony of writing sizing for the patterns.  That fact alone is reason enough to visit home dec land more often. So when a friend invited me to contribute to her afghan book, I didn’t need to think twice.

This weekend, all of the contributing designers are helping to celebrate the release of Unexpected Afghans, by Robyn Chachula. I believe I speak for the entire group when I say what a pleasure it was to not have to size the patterns… oh, and how much fun it was to work with Robyn.

Robyn’s idea was to get each of us to design an afghan in our own unique style.  For me this meant seamless lace, the Exploded Pineapple Afghan:

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I have written previously about my relationship with pineapple crochet here. Very early in my career I realized that I loved creating pineapple designs so much that I was in danger of overdoing it. I began rationing my pineapple use.  But you have to ask yourself, how many pineapple projects are allowable in, say, a year of designs? Two per year seemed excessive, and I now limit myself to one a year.  So this afghan blows my quota for 2012. 🙂

Here’s the list of contributors to Unexpected Afghans, so you can see what the entire gang has to say about the book this weekend:

Annette Petavy – Annette Petavy Design
Annie Modesitt – Modeknit
Carol Ventura – Tapestry Crochet
Diane Halpern –Three Rivers Crochet
Dora Ohrenstein – Crochet Insider Newsletter
Drew Emborsky – The Crochet Dude
Edie Eckman – Edie Eckman
Ellen Gormley – Go Crochet
Jill Wright – Wool Crafting
Kim Guzman – Wips N Chains
Kristin Omdahl – Styled By Kristin
Linda Permann – Lindamade
Mary Beth Temple – Addicted to Alpaca 
Megan Granholm – Loop de doo
Simona Merchant-Dest – Stylish Knits
Robyn Chachula, CrochetbyFaye

Tracie Barrett – Tracie Barrett

CGOA 2012 Crochet Design Competition Results

CGOA 2012 Design Competition Results, as announced during the Awards Ceremony at the conference in Manchester, NH, 28 June 2012:

Category: Accessories, sponsored by WEBS, Americas Yarn Store

Third Prize $100

“Romantic Pineapple Shawl”, designed by Kathryn White

Second Prize $200

44 “Vineyard at Dawn Shawl”, designed by Linda Dean

First Prize $300

29 “Knots of Love Shawl”, designed by Kathryn White

Category: Afghans, sponsored by Red Heart

Third Prize $100

69 “Diagonal Modern Art”, Nancy Smith

Second Prize $200

67 “Ahana”, designed by Brenda Bourg

First Prize $300 and $100 Founders Award, sponsored by Gwen Blakley Kinsler

34 “Princess and the Pea”, designed by Michele Wilcox

Category: Fashion, sponsored by Interweave Crochet

Third Prize $100

51 “Cool Breeze Tee”, designed by Jill Hanratty

Second Prize $200

49 “Glendalough Shrug”, designed by Jennifer Ryan

First Prize $300

65 “Mystique”, designed by Tammy Hildebrand

Category: Small Wonders Jewelry, sponsored by Boye and the Crochet Dude brand of tools and accessories

Third Prize $100

14 “Hairpin Lace Bracelet”; designed by Jean DeMouy

Second Prize $200

10 “Marseille Necklace”, designed by Shelby Allaho

First Prize $300

47 “NC Necklace”, designed by Karen C. K. Ballard

Category: Thread Crochet, sponsored by AllFreeCrochet.com and FaveCrafts.com, offering diverse crochet e-newsletters, e-books and patterns

Third Prize $100

27 “Southern Rose Doily”, designed by Kathryn White

Second Prize $200 and also winner of $100 People’s Choice Award sponsored by Crochet Liberation Front:

18 “Pineapple Rose Delight”, designed by Carol Booth

First Prize $300

24 “Charm Blouse”, Natalia Kononova

Category: Fanciful Fashion, sponsored by Tahki Stacy Charles, bringing you fine yarn lines Tahki, S Charles, Filatura Di Crosa and Loop-d-Loop

Third Prize $100

62 “The Whirlwind”, designed by Diana Toni

Second Prize $200

17 “Freya Dress”, designed by Linda Skuja

First Prize $300 and $200 Special Award for Technical Merit, sponsored by Designing Vashti           

25 “Summer Dreams Bolero”, designed by Dot Drake

Category: Artistic Expression, sponsored by Tulip Company, makers of exceptional tools including Etimo cushion grip crochet hooks and Carry T

Third Prize $100

33 “Sensory Herbary”, designed by Martha Furman Kojro

Second Prize $200

38 “Cat Tree”, designed by Sachiko Adams

First Prize $300

28 “Ageless Elegance Gatetop Purse”, designed by Kathryn White

$1000 Grand Prize, sponsored by Vogue Knitting Crochet

52 “Reversible Rowan Tree Vest”, designed by Laurinda Reddig

Crochet Yarn Conundrum

It’s not my fault and neither is it yours if a yarn substitution isn’t working.  I’d love to tell you that it’s easy to just plug your favorite yarn into a design and get good results.  I’d sort of be lying if I did.

Let’s say you’ve discovered a crochet design that you want to make but you don’t like/have never heard of/can’t find/wouldn’t pay that much for in this lifetime, or whatever, the yarn suggested in the pattern. So you examine the yarn requirements and consider the possible substitutions.  You have on hand enough yardage of a similar product in a color you’d actually wear, so you go for it. Three things can and often happen: you can’t achieve the stated crochet gauge; you don’t like the looseness or tightness of the resulting fabric or drape; you end up with not enough yarn to complete the project. This would totally piss me off and I would be cursing the designer, the publisher, the yarn manufacturer, my dog and myself {not necessarily in that order} for the complete botched job. I say it again.  It’s not my fault and neither is it yours.

Experience has shown me that no two skeins of yarn are exactly alike. I’m not talking about skeins of completely different yarns that list the similar information on the labels. I mean I’ve had skeins of the same yarn that differ, albeit subtly, in weight or thickness, twist and texture from one color to another color, even from skein to skein of the same color same dye lot.  Hell, there has been yarn that worked to varying gauge within the same fracking skein. (This happens occasionally when you crochet with softly S-twist yarn that inexorably untwists and loses coherence as you go.  However I’ve had yarn that wasn’t intended to be thick and thin, but gave me thick and thin areas just the same!)

How is a crocheter supposed to navigate these waters? The only way to know for sure is through experience; lots of trial and error and cursing.

You’d think there should be some standardization in how yarns are classified and categorized and that such critical information be printed on the yarn labels of every skein offered for sale to aid the unwary public. Well, in a limited way there is.  The system developed and published by the Craft Yarn Council of America (CYCA) is in this downloadable booklet, Standards and Guidelines For Crochet and Knitting. Not to say that the CYCA efforts are unappreciated, but if you study the page Standard Yarn Weight System you’ll find that the system is general and still leaves you guessing.

Standard Yarn Weight System

Categories of yarn, gauge ranges, and recommended needle and hook sizes

Yarn Weight Symbol
& Category Names
lace super fine fine light medium bulky super bulky
Type of
Yarns in
Category
Fingering
10-count
crochet
thread
Sock,
Fingering,
Baby
Sport,
Baby
DK,
Light
Worsted
Worsted,
Afghan,
Aran
Chunky,
Craft,
Rug
Bulky,
Roving
Knit Gauge
Range* in
Stockinette
Stitch to 4 inches
33–40**
sts
27–32
sts
23–26
sts
21–24
st
16–20
sts
12–15
sts
6–11
sts
Recommended
Needle in
Metric Size
Range
1.5–2.25
mm
2.25—
3.25
mm
3.25—
3.75
mm
3.75—
4.5
mm
4.5—
5.5
mm
5.5—
8
mm
8 mm
and
larger
Recommended
Needle U.S.
Size Range
000–1 1 to 3 3 to 5 5 to 7 7 to 9 9 to 11 11
and
larger
Crochet Gauge*
Ranges in
Single Crochet
to 4 inch
32–42
double
crochets**
21–32
sts
16–20
sts
12–17
sts
11–14
sts
8–11
sts
5–9
sts
Recommended
Hook in Metric
Size Range
Steel***
1.6–1.4
mm
2.25—
3.5
mm
3.5—
4.5
mm
4.5—
5.5
mm
5.5—
6.5
mm
6.5—
9
mm
9
mm and
larger
Recommended
Hook U.S.
Size Range
Steel***
6, 7, 8
Regular
hook B–1
B–1
to
E–4
E–4
to
7
7
to
I–9
I–9
to
K–10 1⁄2
K–10 1⁄2 to
M–13
M–13
and
larger
* GUIDELINES ONLY: The above reflect the most commonly used gauges and needle or hook sizes for specific yarn categories.** Lace weight yarns are usually knitted or crocheted on larger needles and hooks to create lacy, openwork patterns. Accordingly, a gauge range is difficult to determine. Always follow the gauge stated in your pattern.*** Steel crochet hooks are sized differently from regular hooks—the higher the number, the smaller the hook, which is the reverse of regular hook sizing

The CYCA system is not universally recognized nor are the stated standards and little ball band symbols used much outside the US.  They know that.  And it figures. It is after all the Craft Yarn Council of America.  Imported yarns are often labeled by their US distributors for our market, but that is no guarantee that the CYCA category will be offered or even considered. Hey, even US manufacturers aren’t putting those symbols on all yarn labels yet.  Is that any example for the world?  Really.

This chart tells you what you can expect from each category in terms of suggested tool sizes and stitch gauges.  For the most part, for knitting and for normal crochet techniques, these suggestions are OK and enormously useful.  But this chart does not spell out what guidelines are used to categorize the yarns in the first place.  You’d hope that the thickness or diameter of the strand (occasionally measured in wpi or wraps per inch) would be considered along with the density or airiness of the fiber (apparent in the number of yards per ounce). You can judge this for yourself in many ways, the simplest is by running a strand through your fingers. Some yarns are between categories or posses qualities that put them in more than one category.  It is then up to the manufacturer or the distributor to assign a weight based on their own customary method.  And that method is often unfathomable.

You say tomato, they say to-mah-to. Even if the yarn description uses familiar terminology, there’s no guarantee that we’re speaking the same language. For example, I have been stalking 100% silk yarns on a UK site, Colourmart

A caveat is printed alongside this DK silk offering: “note that we call this a dk based on its yardage but the denser nature of silk yarn means our dk silks feel more like a fingering weight or similar..”.  The gorgeous Z-twist silk yarn I eventually purchased is put up in a 150 gram cone with 540 yards, which divides out to 180 yards per 50 gram skein (50 grams equals 1 3/4 ounces and is a universally common put-up for skeins of yarn).  This places my silk way finer than DK (CYCA Category 3 Light), possibly finer than sport (CYCA Category 2 Fine). It coulda been a disaster, but because of their warning, I was prepared for that yarn to work to an even finer fingering weight gauge that better corresponds to CYCA category 1. Buyer beware!

Don’t let the CYCA Category names fool you.  The titles Medium, Light, Fine, SuperFine are not meant to be absolute descriptions, they are relative terms. A Category 4 Medium yarn can actually feel lighter than a Category 3 Light one.

All things considered, it is very fortunate if your yarn has a really good label like this example, but you must still beware.  See newly added Crochet Rules #29 and #30.

Even if your label tells the truth and the yarn appears to be a perfect match for your purpose, your substitution outcome can still go horribly wrong due to factors beyond weight category and suggested tools and gauge.

  • Fiber content makes a huge impact. Sticky fibers, definitely mohair as well as some wools, cashmere and alpaca, can adapt to a range of gauges and applications because that stickiness helps the surface hold the stitches, either tighter or looser, so there’s a better chance you can match stated gauges. A classic example is when laceweight mohair is worked using oversized tools to get extremely open, cobweb gossamer fabric.
  • Slick, slippery fibers, such as rayon, or dense fibers, such as mercerized cotton, might not offer as much latitude.Taken to extremes, the stitches could be too stiff at smaller gauges (potholders) or begin to fall apart, unable to hold larger gauges.
  • The spin or twist of the yarn also makes a difference in how a yarn behaves, which I’ve come to expect given my experiments with twist.
  • The most annoying issue is that the yarn color can make a difference in the gauge. Intuitively you’d think that a darker shade of a yarn would have more processing and dye.  If there’s any difference at all, it should be the darker yarn that feels weightier in your hands and on your hook than a pale or natural shade of the same yarn. Hokey Smokes!  The opposite is often the case.

Back to the conundrum.  How does a crocheter confidently substitute yarn in a project, particularly in cases where critical label information is lacking or just plain wrong?

You can begin by first judging a yarn by the yardage per skein, hank or ball. This is only a crude initial look and cannot tell the whole story.  The yardage can vary wildly from product to product, but for traditional type yarn these are some of the averages you can expect:

  • worsted weight Category 4 Medium yarns contain around 80-90 yards per 50g;
  • DK weight Category 3 Light yarns contain around 110-120 yards per 50g;
  • sport yarns Category 2 Fine contain around 140-150 yards per 50g;
  • fingering yarns Category 1 SuperFine contain around 200-250 yards per 50g.

Again, it all depends on the heaviness or density of the fiber and type of construction and twist. For example, compare these two yarns that I’ve had the pleasure of using for recent design.

Blue Sky Alpacas Techno is put up with 120 yards per 50g hank:

It has a more yardage per hank than this Tahki Cotton Classic, which is 108 yards per 50g hank:

The Techno is a whipped up baby alpaca blown into a mesh tube of silk, making it very light and airy.  It is a Category 4 Medium yarn that works to worsted gauge, bordering on chunky! The Cotton Classic is a firmly Z-twisted mercerized cotton that is dense.  It is a Category 3 Light yarn and works to DK gauge.

Here’s the next tell, and you can try it too.  Much of the yarn available to us is manufactured, labeled, marketed, intended and destined for hand knitting. The industry is accustomed to catering to knitters.  Nearly every skein of commercial yarn I have ever held (this does not include certain boutique, specialty or artisan products for which there are few rules!) gives a suggested knitting gauge on the label. So in cases where the weight class or crochet gauge is not clear, canny crocheters can use the ubiquitous knitting gauge as a guideline.

Compare the suggested knitting gauge of your yarn to the CYCA standards above. I know, I know. Every listing in the standard is given as a range, so it’s not exact. For example, the Techno above gives a knitting gauge of 3 to 5 stitches per inch using a US Size 9-10.5 knitting needle.  The needle diameter alone (same mm size as crochet hooks I/9 through K/10.5) puts Techno squarely in the thicker worsted, even chunky range. Cotton Classic is labeled 5 stitches per inch on a US Size 6 needle; it is on the heavier side of DK.

I find myself writing the next words more than I’d care to. There is no magic bullet. After these initial judgements of yarn weight class and knitting gauge, the next step, and the only way to truly know if the yarn will work, is to just do it. Experience, trial, error, cursing. 🙂

Show Me The Crochet…NOW!

The Crochet Guild of America awaits your entries for the CGOA 2012 Crochet Design Competition. Our entry form is now live, ready for you to fill out, hit the submit button and then ship your design entry to the receiving location in time for the deadline, 6 June 2012. Thanks to the generous support and crochet love from our magnificent sponsors we have over $5000 in cash prizes to award. The competition is open to CGOA members only. For more details, see and download this information package.

Check out this post for a look at winning designs from past competitions.

Such an  uncharacteristic thing for me to get that out of the way first!  This makes two blog posts in a row where I have placed the lead, the most important bit of news, in the opening paragraph rather than burying it in a pile of inconsequential verbage. It’s like there should be a VIEW pull-down tab at the top of the page, with clickable choices for “normal cluttered view” and “cut to the chase view”. Can WordPress actually do that?  You think the FAQ section would have tips? Having the option of skipping the fluff might be useful if you’re pressed for time as I imagine there are other sites you need to be surfing.  Hey, aren’t there new cat videos that you haven’t seen yet? For that reason alone you might appreciate better efficiency here.

SO not gonna happen.  For those who might click the “normal cluttered view” we return now to catch up on the fluff.

In my role as producer of the CGOA 2012 Design Competition I have the responsibility of keeping the progression of events on schedule. This means I have to say, write and think “deadline”.  YIKES! You have no idea how conflicted I am about having to make the keystrokes to spell that dreaded word, much less presume to enforce the aforementioned date. Among my faults… well, fault is such a judgmental term, let’s call them my personality quirks…. is that I am forever late. Tardiness is nothing I plan or calculate; it just happens.  You can ask any of my employers which crochet designer has the worst on-time record for turning in design work. It’s gotten to the point where editors actually faint if materials arrive from me in time to meet their deadlines.  Overnight shipping is my way of life.

That doesn’t mean you should do as I do. True chronic tardiness is nothing to which one aspires. And there is no excuse for it, only the mitigating factor that creativity can neither be scheduled nor can it be rushed. Only partly in jest  have I suggested to editors that they NEVER tell me the real drop-dead deadline for any project. I’ve begged them to make up fake early dates just for me and then, perhaps, my designs would be done by the same time as everyone else’ stuff. But this is merely a mind game; lateness isn’t about not knowing or caring when things are due.

Tardiness bleeds over into my personal life as well.  My family and friends can count on my being at least a few minutes behind no matter what the occasion. I’d have to check with my mom, but, heck I think I was even born late. Well-meaning loved ones have never complained to my face, and yet often they gift me with time stuff, watches and clocks and calendars. I must have a staggering number of wristwatches, not a working battery among them, stuffed in a drawer somewhere. The thing is, lateness isn’t about not knowing what time or what day it is.

Put into perspective, tardiness doesn’t seem so awful. It doesn’t rank up there among the seven deadly sins of wrath, greed, sloth, pride, lust, envy and gluttony (my favorite!). What possibly makes tardiness worse than gluttony is that the former is a public sin and the latter is often a secret one. Mercifully, gluttony can be hidden.  You will never know, nor will it impact on anyone else if I inhale an entire box of Pop Tarts. My bathroom scale will undoubtedly know, but it isn’t talking.

However, when I am late turning in my design to a magazine it could throw off the smooth running of a chain of events, like cascading dominoes. It puts pressure on all those who in turn have to handle my work: editors, technical editors, art directors, illustrators, graphic designers, photographers and could eventually trickle down to the printers, publishers, shippers, distributors and retailers. OMG! Could it be that you got your magazine subscription issue in the mail a few days late because I procrastinated about writing the sizing for a garment pattern and missed the deadline?

Not to lay any guilt on you, dearest competition entrant, but that’s why I gently urge you to submit the form, prepare your design package and ship it to arrive by the aforementioned date, 6 June 2012.  Don’t make me type the D word again, please.

For those not involved in the design competition, it would still be a wonderful thing if you’d visit our sponsors’ sites and let them know that you know that they love and support crochet as much as you do.

Hope to see your designs and best of luck!

Drool-Worthy Crochet

Let’s not bury the lead with a gang of my usual fluff.  The preview for the Vogue Knitting Crochet Special Collector’s Issue 2012 is live here.

WAAAAAAY down the list, in the middle of the preview page, within the segment A Fine Romance, is the motif tunic I contributed.

Vogue Knitting Crochet 2012, photo by Rose Callahan

The issue will hit the newsstands on May 8, but you can order a copy or view it if you have some sort of app for your iPad.  Just remember, it’s OK to drool over crochet, but not acceptable to drool on it.  Just saying…

Forgot to add this link:

http://www.vogueknitting.com/crochet/crochet_tips_from_the_stars.aspx

Vogue Knitting appears to be making a commitment to crochet (it’s about time) and in doing so I believe they have chosen wisely. 🙂