So, I sez to my friend, Friend, what kind of a bag would you like? And she sez to me, she sez, Well, I’d like a camera bag.

In camo.

…

Have I mentioned before that I HATE camo?

I must have mentioned this.

In fact, my friend, she started giggling because we had talked, at length, on just this very topic the day before while hiking. I sez to my friend, Friend, do you have a hat I could borrow for this here desert hiking in the sun? And she sez to me, she sez, sure! Here you go!

It’s camo.

…

Have I mentioned before that I HATE camo?

So this bag. Well, it’s a camera bag, for a wee little bitty camera of a thing. So I knitted a swatch, and I knitted a sock, and I closed the sock with the three needle bind off, and I picked up the gusset for the lid, and I knitted the lid.

I even did some lace, but you can’t really see. The end is sort of diagonal, which I don’t like much, so I think I’ll do another one. And I want to add a strap. But I finished the bag. Poof!

In camo.

…

Have I mentioned before that I HATE camo?

It’s quite roomy inside. I showed this picture to my friend, and she said it looks like a little mouth. Which of course makes me want to make a version of the bag with ears and teeth…

This is the inside of the cover. There’s actually a small lace pattern in the triangle that forms the flap, but you can’t see it since the yarn is so dark.

This is with the flap closed. The line of the flap at the point of the triangle is angled down and to the right, which I don’t like; I want it to be square. What I think I’ll do is start the next bag from this point, rather than end here, and then cast on the extra stitches for the body and go from there.

Even with white in the background, you can’t see the lace. It’s a pity, but a good lesson: on dark yarn, use a textural pattern and not lace to see it – or use bigger needles (or block the heck out of it).

This is how it looks when I hold it straight, but I’m still not really happy with the closure. I do want to find a cool wooden button to use for the clasp, and I may make a prototype with a button since it will be used in the field on the fly.

And here is the back in all its glory. I did the top part in a garter rib pattern that actually looks quite nice in this yarn; I may do the whole thing next time in that stitch for added padding against the camera body.

Another thought I have is to do a lining, so that there’s extra padding to protect the camera – I just don’t want the bag to be too bulky. We shall see.

In designing my opera gloves, I am using a couple resources. The first is the stitch dictionary by Barbara Walker, A Second Treasury of Knitting Patterns.

Additionally, I did a web search for a few different opera glove designs, but found nothing exactly to my liking. What I want is a glove pattern that goes up the forearm and over the elbow, ending in a ruffle. The fingers will be partial, so it will be a ‘fingerless’ glove, but I do want actual fingers rather than a flat line across the knuckles.

I found it a lot harder to do the swatch with the two lace patterns I’d picked out. I wanted to use one panel that’s a lace rib stitch, two lines, and one as a center panel that’s sixteen rows. It turned out to be too easy to drop stitches on the larger lace pattern, when trying to track both it and the circular knitting. I fiddled and struggled for a while and then realized, if I was having this much trouble on the swatch, I’d hate doing the gloves. I switched to the simpler two row repeat and voila!

One thing I did change, in the pattern, is that it’s a K1 * yo… etc. Well, at first, I did the K1 at the beginning of the round, but not each new needle (I’m knitting on three needles). That was pulling too wide at the joins between the needles, so I decided heck with it, I’d add a K1 on each needle change and it made the pattern much neater. Also, since the pattern is written for flat knitting, I had to reverse row 2 (which is the wrong side row), but luckily it’s just either K or P stitches, no complicated stitchcraft. It’s run to work.

I don’t have pictures yet, but when I finish the swatch I’ll post another update.

My husband and I went on an Outward Bound Dogsledding expedition in 2006. When we got back, I went shopping with a friend of mine in Wisconsin and found some incredible silk and mohair yarn that looked like sunrise on snow. Still under the influence of the Boundary Waters and our experiences there, I set to work on a shawl that would tell our story.

The border is eight stitches, one for each person in the party. I chose a seed stitch to symbolize life and growing. Just like in a garden, people can come together and learn to support each other in the same space but not taking the other’s light or nutrients. We form symbiotic relationships.

I added a row of lace yarn-overs, the holes symbolizing the fact that when we came together, we weren’t a team. We were eight separate individuals, but not one unit. We separated into two teams of four; three students with an instructor. One day the students were with the dogsled, one day they were skiing. The instructors had a two-day cycle, two days on the sled, two days on skis. I chose a basketweave pattern of K4, P4, four rows each, every so often going for eight rows to symbolize the instructors.

At one point in the middle of knitting, when I had about a hundred stitches on the needles, I decided to try an alternate basketweave stitch that I found in a book, thinking it was the “right” way to do it.

It looked totally wrong.

Faced with the decision of unknitting three rows of over a hundred stitches, it occurred to me that this was a perfect metaphor for the middle portion of an expedition. You know your mates well enough to identify their quirks and likes, and well enough for little frictions to pop up. After all, you’re adults enclosed in a vast and threatening wilderness with these other individuals for hours at a time.

It was exactly right.

I left the stitches in and completed the shawl. Eight rows from the end I dropped the yarn-overs, symbolizing that by the time we arrived back at Home Place, we were a team.

The bind-off is done in a sewing needle bind-off that took about six hours to complete. Incredibly detailed, it nonetheless creates a soft, supple edge that doesn’t look at all like a bound-off edge. It’s springy and slender and adds to the beauty of the garment.

This is one of the most expensive and time consuming projects I’ve designed and I share it with you so you can see what can be done with two sticks, some yarn, and an idea.