With Upstairs Baby nicely clad in his Five Hour Baby Jacket, I returned to the crochet cushion cover.
I’d hoped this edition would show it to you completed, but I’ve been very much on the run for weeks and weeks. February and March are busy months for those of us who teach at shows and shops and festivals, and the cushion had to be fit in between flights and classes and banquets and chatting with students and readers at the Madrona Fiber Arts Winter Retreat and Stitches West, not to mention a lovely dinner with fellow makers at Makers’ Mercantile itself.
That being said, I’ve made considerable progress and I’m excited about how the project is shaping up.
I finished the cross stitching over the Tunisian crochet front panel on my flight home from Stitches West.
Cross stitch at 35,000 feet.
There was more cross stitching than I had intended, because I failed to follow my own advice. I told you to take the time to carefully baste in your thread guidelines before starting the embroidery, right? And told you I’d done it every ten squares, right?
I did. But what I couldn’t admit to you until now is that I’d begun with only the horizontal and vertical center guidelines basted–the bare minimum. My excuse, my feeble excuse, is that I did it in a rush just before leaving for a trip to London; and I persuaded myself that just those two lines would be fine.
I was wrong. I miscounted, you see, and ended up placing the horizontal guideline several squares off the true center. Only after ripping out a major mistake, and putting it my proper grid of guidelines to avoid more such mistakes, did I discover this monumental goof. Well more than half of the center motif had been stitched.
If I’d put in the proper number of guidelines, I’d have found the error right away. Rushing never saves time in the end, does it?
I had a choice. Rip out all the cross stitch, and start over. Or keep going, and hope for a way to fudge things later on.
No matter how virtuous a needleworker you are, this is going to happen from time to time.
So the completed motif had gaps–significant gaps–on three sides. On four sides, it would have been a border. On three sides, it just looked weird.
I decided to go for broke and fill in the gaps with a simple motif, and move on with my life.
Testing the border motif on the chart, to make sure it not only looked well, but also fit into the space available.The border was inspired by a filling motif from the same Edwardian filet crochet book that gave me the main motif.
Those of you who must have absolute symmetry at all times will grind your teeth. But I like it–I often enjoy asymmetry–and I’m keeping it.
With the stitching on the front complete, I subjected the fabric to a wet block. As usual, I’m happy that I did.
Crochet soup.
A wet block truly settles the stitches and gives the work a more professional, finished appearance–quite aside from cleaning the yarns, which will have acquired a shocking amount of grime during the transformation from fiber to skein to fabric.
On the Flip Side
I thought I’d use double crochet, but even at a firm gauge it just didn’t work for me–too loose, too likely to allow the pillow form (which is white) to show through the gaps.
So I swatched a bit of single crochet
and felt better about that. It’s strikingly handsome, especially when worked in the stripes with some of the leftover Color 063 (Amber Waves) that was used for the front.
Both sides look nice, but I decided this side
was preferable to this side
because it’s slightly neater–no color blips at all where the yarns change. I also like the jazzy zigzag effect.
The fabric curls at the left and right selvedges, but as those will be sewn down in the finished cover that’s not an issue.
You can do an envelope back on a cushion cover without buttons, but I think they give you a neater closure. Plus it’s an excuse to play with buttons. I chose these Skacel buttons from their enamel line.
I think the style carries some of the florid beauty of the front over to the back.
This means I that I’ll be able to try crochet buttonholes for the first time when I work the top flap. Quite exciting, really. Who could ever be bored, when there’s yarn in the world?
See you in two weeks.
Tools and Materials Appearing in This Issue HiKoo CoBaSi Plus(55% Cotton, 16% Bamboo, 8% Silk, 21% Elastic Nylon; 220 yards per 50 gram hank). Shown in Color 063 (Amber Waves) and Color 047 (Really Red).
He travels constantly to teach knitters at shops and guilds across the country and internationally; and has been a popular member of the faculties of such festivals as Vogue Knitting Live!, STITCHES Events, the Maryland Sheep and Wool Festival, Squam Arts Workshops, the Taos Wool Festival, Sock Summit, and the Madrona Fiber Arts Winter Retreat.
Franklin’s varied experience in the fiber world includes contributions of writing and design to Vogue Knitting, Yarn Market News, Interweave Knits, Interweave Crochet, PieceWork, Twist Collective; and a regular columns and cartoons for Mason-Dixon Knitting, PLY Magazine, Lion Brand Yarns, and Skacel Collection/Makers’ Mercantile. Many of his independently published designs are available via Ravelry.com.
He is the longtime proprietor of The Panopticon, one of the most popular knitting blogs on the Internet (presently on hiatus).
Franklin lives in Chicago, Illinois, cohabiting shamelessly with 15,000 books, a Schacht spinning wheel, four looms, and a colony of yarn that multiplies whenever his back is turned.
Somebody call the Vatican, because we’ve had a miracle.
Before I set out to make this pillow cover I measured the pillow. Of course.
My trusty tape measure said (and still says) it is 16 inches square. Measure twice, crochet once.
I worked the Tunisian crochet bit of it to be a bit smaller than that, so I could add a contrasting border in single crochet. That made for a fun change, and was quite simple.
I’m very pleased with the effect. Crochet borders are, as the kids on my lawn say, da bomb.
The finished dimensions of the front panel after wet blocking were almost identical to finished dimensions of the pillow itself, because what I like in pillow cover is zero ease. I want the cover to fit snugly. A loose cover, to me, resembles a sagging diaper or ill-fitting skirt.
Then something extraordinary happened. The moment I began the next stage–cross stitch embroidery of the center panel–the work expanded to cover 400 square miles.
It’s all fun and games until your crochet blots out the sun.
Or so it has felt at times.
Cross Stitch Over Tunisian Crochet
There are so many excellent guides to cross stitch readily available that I will forbear for the moment to write one here. I do want to talk a bit about what I’ve encountered working cross stitch over a foundation Tunisian crochet.
What makes this crochet fabric so ideal for cross stitch are the nearly perfect little squares that are its hallmark.
If you have only worked cross stitch before on even-weave fabrics like Aida canvas, it can seem confusing at first as to where exactly you ought to take your stitches. There’s some wiggle room here; but you do want to make sure that once you establish your choice with the first stitches, you stick with it throughout
Here’s where I chose to make my stitches–in and out of the four orange dots. The orange cross to the right of them shows the size and shape of the typical resulting stitch.
Since this is a crocheted fabric, the grain of it is not perfectly square like a true even-weave. The individual cross stitches will show variation.
To keep them as consistent as possible, I’ve worked with the fabric always oriented in the same direction (that is, the same edge always at the bottom while I stitched).
The Importance of Guidelines
When I teach cross stitch, I hammer home the importance of first laying out your guidelines with running stitches in thread. Don’t skimp on your guidelines! The larger your design, the more guidelines you put in.
This is the chart I’m using. My guidelines are marked with dashed lines. You’ll note they’re every tenth stitch, in both directions.
Why so many? Why not just the customary two, to pinpoint the center?
Because in large designs–especially large abstract (non-representational) designs like this, it can be too easy to make a mistake and not realize you’ve done so. The design looks fine, at a glance. You move along, and count from a bit of finished work to establish your next row of stitching–and then, only after doing a bunch more work, you realize your error.
Nobody enjoys ripping out. Put in a bunch of guidelines; and when you count, count from them first. Use stitches you know to be correct as a secondary reference point.
To mark my guidelines, I used regular old sewing thread.
These guidelines also allowed me to look at the design as manageable blocks instead of a large and potentially confusing whole. So I could focus on working one 11×11 square, like this.
That’s harder to goof up and, frankly, less daunting psychologically.
Keeping Your Twist
I got a very alarmed e-mail from a reader who told me you cannot, simply cannot, embroider with yarns designed for knitting and crochet.
I beg to differ, seeing as I and many others have done so for years. In fact, the booklet I referenced last time, from the early 20th century, was quite gung-ho about it. If it were impossible, someone would have twigged it by now.
I will say that any yarn or thread you choose for embroidery must be strong enough to withstand the repeated abrasion that comes from being pulled through the fabric. Most lightly spun and all unspun yarns are unsuitable–they will fall apart as you work.
Yarns with lots of texture (like coils) won’t pull readily through the small hole made by your needle, nor will yarns with additives like sequins. Beaded yarns may work, if the beads are quite small, but beaded embroidery is a topic I’ll leave for another time.
HiKoo CoBaSi Plus
HiKoo CoBaSi Plus has worked very well, with one caveat. Like any embroidery strand made from fibers that do not stick together (this includes purpose-made embroidery cottons with multiple plies), the yarn will tend to untwist as you work.
Just pause every so often and twiddle the needle to put the twist back in. That’s all.
Some Now, Some Later
I began working the central motif as I’ve always worked cross stitch: row by row, laying in the first part of the cross from left to right, then completing the row by working back from right to left.
Then, after realizing how much of this piece would be done on the road while teaching or in company when I was liable to mis-read my chart, I decided to take a different tack.
When I’ve been in a situation that allowed me to focus–at home, in my workroom, or alone in a hotel room–I’ve worked only the first part of each cross stitch, filling out the design.
Then, when I’ve been in distracting situations like airplanes and airport lounges and cafés, I’ve worked over those established stitches–in other words, that’s when I’ve done the mindless work that requires no counting.
Where Am I?
It’s gone well, though I have not as I hoped finished all the embroidery yet. As I said at the beginning of this installment, what began as a cover for a tiny little pillow keeps growing larger, and larger and larger. Still–I’m pleased. The entire first layer is in, so now I merely fill in the second layer. (I may add borders in the blank areas to the right and left, but I’m not sure yet.)
We’re going to have to pause this project for a bit, anyhow–because a newborn baby in the apartment upstairs needs a warm sweater, quickly, and I have just the thing waiting to be knit up: Zitron Gesa & Flo, with a dash of Schoppel-Wolle Edition 6 Light Fingering.
He travels constantly to teach knitters at shops and guilds across the country and internationally; and has been a popular member of the faculties of such festivals as Vogue Knitting Live!, STITCHES Events, the Maryland Sheep and Wool Festival, Squam Arts Workshops, the Taos Wool Festival, Sock Summit, and the Madrona Fiber Arts Winter Retreat.
Franklin’s varied experience in the fiber world includes contributions of writing and design to Vogue Knitting, Yarn Market News, Interweave Knits, Interweave Crochet, PieceWork, Twist Collective; and a regular columns and cartoons for Mason-Dixon Knitting, PLY Magazine, Lion Brand Yarns, and Skacel Collection/Makers’ Mercantile. Many of his independently published designs are available via Ravelry.com.
He is the longtime proprietor of The Panopticon, one of the most popular knitting blogs on the Internet (presently on hiatus).
Franklin lives in Chicago, Illinois, cohabiting shamelessly with 15,000 books, a Schacht spinning wheel, four looms, and a colony of yarn that multiplies whenever his back is turned.
For an introduction to what goes on in this column, click here.
If you ask me, you can tell a civilization is in decline when it stops caring about good throw pillows.
Most of us, if we are lucky, spend quite a bit of time with our throw pillows, and they do so much for us. They hide that coffee stain on the sofa from visitors, they add a certain quelque chose to the bed on days when we make the bed, they support our backs as we knit in a favorite chair, they cradle our heads while we fall blissfully asleep during a weekend binge of The Crown or America’s Next Top Cake Hero.
Yet how much thought do we put into the selection of these small but essential elements of the well-appointed home? Judging from the pillows I’ve seen lately (including on my own sofa), shamefully little.
Rosamund doesn’t like it, either.
I’ve taken a hard look at the soft furnishings of our nest this winter, in part because for a couple of weeks I couldn’t leave the nest or the Chicago weather would have killed me. And I feel the need of an upgrade.
I don’t even know where that green sofa pillow and its twin came from. They mystify me, because I don’t like that depressing olive green and I don’t like that clammy fabric.
I suspect they came home because I was out at some discount store, remembered that we needed new pillows, and grabbed the least offensive pair off the shelf because they were a) cheap and b) meh, good enough.
Is that any way for a man who claims to be a fancier of fine textiles to act? No, it is not.
Out of the Past
A few years ago I was visiting a friend’s great-aunt, and the friend told her that I knit and crochet. The great-aunt said languidly that the afghan over the back of the couch upon which we were sitting was her own work, circa 1950; and it was the first and last thing she’d ever made because needlework was boring as all hell.
It was quite a showpiece, fashioned entirely from wool, weighing in at about three hundred and forty thousand pounds. Most fascinating to me were five square panels set into the center and corners, each embroidered with florals in cross stitch.
I asked if I could photograph it. She thought that was a weird request, and said no. She changed the subject to the voracious and seismic lovemaking of the newlywed couple in the apartment above. They, on cue, went into action at that very moment and we scrambled to keep the tea service from bouncing off the table. The afghan was forgotten.
Months and months later, I came into possession of a 1916 book of knitting and crochet patterns that included an afghan with cross-stitched panels.
I strained my rudimentary crochet skills to understand the method, which the book called “afghan stitch,” and realized it was what I had seen demonstrated at a couple of fiber shows as “Tunisian crochet,” and had read about in a few Victorian books as “tricot crochet” or “tricot stitch.” (And yes, “tricot” is French for “knitting.” Foreshadowing!)
Ever since, I’ve been looking around for a chance to play with the technique, and at last hit me–why not do up a pretty sofa pillow/cushion cover in Tunisian crochet, and embroider it to suit?
The Apparatus
Now, the world of Tunisian crochet is large and varied. This is not the only stitch, but it’s the one called for in all old manuals for cross-stitched panels.
First, a note about the tools for working it.
Tunisian crochet is usually not made with typical crochet hooks, but specialized hooks intended for the purpose. Maker’s Mercantile sells them, and they are usually either double-ended, like these, or have a hook at one end and a stop at the other, like these.
But they also sell a set-up that interested me particularly because of the size of the panel I wanted to make. It looks like this.
An Addi Click Interchangeable Hook at one end, a cute little Addi Heartstopper at the other.
That’s a hook from the Addi Click Crochet Hook Interchangeable Set, with an interchangeable cable and, to keep the work from sliding off the end, an Addi HeartStopper. A long panel can be heavy, and using a hook on a cable means the weight of the growing fabric slides down the cable to rest, and won’t wreak havoc on your wrists as it might with a traditional hook–one of the same reasons circular knitting needles have become so popular, even for flat knitting.
Also, I knew I’d be working on this project on a lot of airplanes–and a short hook with a short cable is less cumbersome in an airplane seat and less attention-getting at security than a long metal hook.
The Tunisian Crochet or Afghan Stitch, Part I: The Set-Up
You may have noticed that those Tunisian hooks with an end stop look like knitting needles. That’s no coincidence, because this odd form of crochet acts a whole lot like knitting. (Hence the nineteenth century moniker “tricot crochet.”)
In fact, if you are a knitter and think you can’t possibly do this, let me give you all the fundamentals of the basic Tunisian stitch in two steps:
*1. Pick up and knit stitches into your fabric. Don’t turn the work.
2. Now bind off all but one of the stitches you just picked up. Repeat from *.
I’m not kidding. You pick up stitches and you bind them off. You can do that, right?
Let me show you how.
I’ll demonstrate some of the gold HiKoo Simpliworsted left from Rosamund’s superhero sweater. (If you want to crochet a washable afghan that incorporates this sort of fabric, Simpliworsted is a great choice.)
We have to start somewhere, and that somewhere is with a crochet chain. It’s no different than the standard chain you’d use to start a regular piece of crochet.
The chain has two sides to it. The front shows you little Vs.
The back shows you little bumps.
We will work the next stage, the “forward” row of picked-up stitches, into the bumps.
Set-Up, Forward Row
Insert the hook into bump nearest the hook,
and pull through a loop of the working yarn. Now–and herein lies a great difference between Tunisian crochet and other sorts–we slip this new loop onto the shaft of the crochet hook. That’s right–just as we keep our knitting stitches on the shafts of our needles.
Continue to pick up a loop through every one of the bumps on the back of your chain, keeping all the newly-created stitches on the hook.
In the midst of the set-up forward row.
Do not turn the work. That’s right–don’t turn the work. In fact, never turn the work.
Instead, we will now work a “reverse” row and bind off all these new stitches.
Set-Up, Reverse Row
Yarn over the hook, and pull a new loop through the stitch at the left end of the row.
Yarn over hook, pull a loop through last stitch you made in your forward row.
Yarn over the hook, and pull a loop through the first two stitches on the hook.
Yarn over the hook, pull a loop through the first two stitches on the hook.
**Yarn over the hook, and pull a loop through the next two stitches on the hook.
Repeat from ** until you have only one stitch left on the hook.
The forward and reverse rows of the set-up are complete. One stitch remains on the hook. You’re ready to work the rest of the fabric.
Your set-up is now complete. The next section will tell you how to work the remainder of the fabric.
The Tunisian Crochet or Afghan Stitch, Part Two: All the Other Rows
You’ll continue to work your fabric in much the same way–with forward rows (right to left) in which you make new stitches; and backward rows (left to right) in which you bind off all but one of them.
Forward Row
Look at the fabric you’ve created in the set up. You will see a series of vertical “bars.” I’ve marked them here to make them obvious.
Each bar you see has a mate on the back side of the work. We will work only into the bars on the front until the last bar of the forward row.
Put the hook under the second bar in from the right selvedge of the work. Yarn over the hook and pull up a loop.
Slide the new loop onto the shaft of the hook.
Repeat into the next bar, and all remaining bars until you reach the final bar–the one at the left selvedge.
Working a forward row, making a stitch under each vertical bar at the front of the fabric.
Create the stitch at the left selvedge by sliding the hook under both the front and back bars, yarn over the hook, and pull up a loop.
The left selvedge stitch is picked up under both the front and back vertical bars (outlined in orange).
This little change gives you a neat left selvedge that matches the right selvedge.
DO NOT TURN THE WORK.
Reverse Row
Note: This is pretty much identical the reverse row in the set-up!
Yarn over the hook and pull a loop through the first stitch on the hook only.
***Yarn over the hook and pull up a loop through the first two stitches on the hook.
Repeat from *** until one stitch remains on hook.
DO NOT TURN WORK.
First complete row of fabric (made from one forward and one reverse row) completed.
Begin the next Forward Row, as above.
Bind off as you would any flat piece of crochet.
The fabric this stitch creates is intriguing: dense, cushy, and with a surface texture that reminds me of the little square cells in a waffle.
Destination: Throw Pillow
For my pillow cover, I settled on HiKoo CoBaSi Plus. It’s a worsted weight–unlike the original CoBaSi, which is a fingering weight, and fabulous for wool-free socks and summer shawls.
Yes, please.
CoBaSi Plus (a mix of cotton, bamboo, and silk–get it?) is strong, soft, durable, springy, lustrous, washable, and feels nice against your face–all important in a cushion you’d like to be beautiful and useful.
In setting about making my fabric, I learned a few things very quickly.
First, when guides to Tunisian crochet tell you to use a hook size that seems large for the weight of your yarn, they mean it. This fabric is tight. Use a hook that would be reasonable for, say, a granny square, you may find very that your fabric is impossible to work without damaging your fingers.
How do you figure out which hook to use? SWATCH. No way around it.
I tried three sizes of hook. The smallest (at the bottom of the photo above) made a fabric so dense that was nearly impenetrable on forward rows. The largest (at the top) made a fabric loose enough for the fabric of the pillow form to show through…tacky. The hook in between (in the middle), a 5mm, was just right. You can barely see the difference in the photograph–but it’s there.
Also, Tunisian crochet has a reputation for being tough on the hands and wrists. I won’t disagree with that–it can be. Using the loosest suitable tension (therefore, the largest suitable hook) will help, as will avoiding yarns (like pure cottons) that don’t like to stretch.
I also found it was far easier on my hands and wrists when I grasped my hook knife-style (in the palm of the hand, rather than resting pencil-style on the thumb), and held it nearer the lower end of the hook, where it joined the cable.
Coming Up…
The making of the fabric was quite pleasant, if occasionally monotonous. But what I was really looking forward to was turning it into a big, bold piece of cross stitch.
He travels constantly to teach knitters at shops and guilds across the country and internationally; and has been a popular member of the faculties of such festivals as Vogue Knitting Live!, STITCHES Events, the Maryland Sheep and Wool Festival, Squam Arts Workshops, the Taos Wool Festival, Sock Summit, and the Madrona Fiber Arts Winter Retreat.
Franklin’s varied experience in the fiber world includes contributions of writing and design to Vogue Knitting, Yarn Market News, Interweave Knits, Interweave Crochet, PieceWork, Twist Collective; and a regular columns and cartoons for Mason-Dixon Knitting, PLY Magazine, Lion Brand Yarns, and Skacel Collection/Makers’ Mercantile. Many of his independently published designs are available via Ravelry.com.
He is the longtime proprietor of The Panopticon, one of the most popular knitting blogs on the Internet (presently on hiatus).
Franklin lives in Chicago, Illinois, cohabiting shamelessly with 15,000 books, a Schacht spinning wheel, four looms, and a colony of yarn that multiplies whenever his back is turned.
