Birdie Business

I’ve been writing this post for about three years now. I’m happy to let it out of its coop, finally.
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There are dog people and there are cat people, but I - we - are bird people. Birds have been part of my life for as long as I can remember. I was raised with a series of budgies and finches, flirted for a few years with a pair of very naughty lovebirds and enjoyed a very deep 25 year-long bond with Pookie, my cockatiel buddy. When we lost him a few years ago I was at a loss in more ways than one. There was suddenly a gaping, bird-shaped hole in my life. I allowed myself the time to grieve and left the question unanswered: could I live happily without sharing my life with a bird?

After months of gawping at wild birds (which I normally would’ve done anyway), considering their birdie shapes and their sheer, wonderful…birdiness I decided I couldn’t. It hit me hard one day - in the shower I just started sobbing. I needed feathers in my life. I needed claws and scratches and birdie kisses and fluff wafting around the house. Moreover, I need a buddy. I decided then and there that no matter the cost (well, I did have a budget of $2000), no matter the inconvenience and the mess, I was going to adopt a parrot.

A few months later (though it felt like forever at the time), I was stood in front of a shallow tray holding a clutch of four nearly fully-fledged African Grey parrot chicks. “Okay,” I said, “who wants to come live with us? There’s going to be lots of books and knitting and tea.” Perhaps this was a bit twee of me, but you’ve gotta let a guy know what he’s getting into, right? No sooner were the words out of my mouth than one of the chicks looked up and made a somewhat shaky beeline (birdline?) directly towards me, his black eyes shining. He had made his choice. And that was the first time I met Earl.
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Three years on, life with Earl is many things, but one thing it isn’t is boring. He continues to hold me to my “books and knitting and tea” pledge every single day by diligently inspecting and/or getting involved with all of the above. Just yesterday he took the time to ensure that my knitting was up to his high standards.
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Perhaps you’ve been keeping up with his (mis-)adventures on my Twitter, and if not, please feel free to start. Earl actually has his own Twitter, so if you like you can follow him as well.  He is, after all, a professional tweeter. Regardless, you can expect more Earl content to turn up here in the future.

Gnome Spores

Some people have warts, spoon collections, or small dogs. I have gnomes. Gnomes which, I should add, are uniquely fond of all of the above (weirdos.)*

I keep my gnomes (or rather, attempt to keep my gnomes) outside in a prepared garden that I dug especially for them. It's nestled beneath a Norway Maple that someone should've ripped out, but didn't about 25 years ago. I've kept it suitably woodsy and wild for them out there and as I've had no complaints from the wee bastards I assume that they're pleased with it. Nothing like urinating beneath a nice stand of lily-of-the-valley to get a gnome's blood flowing in his gnome-veins. Makes them feel alive.

Sometimes they like to do a bit of decorating of their own (and not just with their own bodily fluids!) Sometimes they coax mushrooms to grow. The other morning I looked out the window to see this going down: a classic, gnome-instigated mushroom party. I had to go out and investigate.

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Gnomes have a lot in common with mushrooms, and not just because some (most?) of them are sort of damp, smelly, and fairly toxic if ingested. We know that mushrooms (and other fungus) spread via spores, and I strongly suspect that gnomes reproduce in the very same way, and just as quickly, too. One minute there's nothing and then poof, there's a whole mess of the little darlings all over the garden, running the show. I mean, how can one otherwise explain either mushrooms or gnomes?**
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Now if you'll excuse me, I have to go investigate a suspicious clang that I just heard downstairs. I thought that I had kicked them all outside this morning.***

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*N.B.: My gnomes may not be representative of all gnomes. Maybe you're lucky. Maybe yours are the polite kind. Maybe your gnomes aren't gross little nutjobs who like to do the two-step in jam and then go smear their sticky feet on the good carpet. Mine find this to be a inexhaustible source of amusement (weirdos.)

**Not a rhetorical question. You can't. Don't try.

***I had. They came back.

Pheasants and Fords

Whenever we are heading west towards home on Riverside Drive I always make sure to look toward the river when we pass the former Ford property near Drouillard Road. The site of the first Ford plant in Canada from 1904 to 1953, is now a naturalized area along the Detroit River. The place where thousands of Model Ts and other cars were built is now home to native plants and wildlife, including a colony of pheasants, which is what I am looking for every time we pass by. The wild pheasants are notoriously furtive and tricky to photograph, so here is a picture of Phil, the pheasant who lives in my parlour, instead.
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With so many major Ford landmarks just a stone’s throw from home it’s become something of a pastime for us to visit them each in turn. This weekend saw us finally make the trip to the original purpose-built Ford property, the Piquette Avenue Plant, where the iconic Model T was born.  And a fun fact: a Ford logo with “wings” on either side means that that vehicle was produced at the Piquette Plant.
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 The Plant does not (and never did) have air conditioning but they did have festive cardboard hand fans available for visitors’ use.  Handy, should one “get a case of the vapours.” I thought briefly of the generations of workers who had to toil here in the steamy Great Lakes summer heat without the luxury of a free hand with which to fan themselves.
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Built in 1904, the Plant really is a remarkable space, and one can tell that the building’s restoration must have been an incredible undertaking. I’ve always had a soft spot of long banks of tiny-paned factory windows.
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All those windows mean lots and lots of beautiful, bright light. Good for the workers to assemble cars by; great for the 21st century visitor to admire the colour and texture of the contents within.

This 21st century visitor, however, rather fancied looking out of those windows for the tasty vistas they offered. I’ve always loved Detroit’s industrial landscapes ever since I first connected with them as a teenager. Big old water towers were always my favourite.
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Shifting my gaze back inside, there were plenty of other visual treats to admire. There were plenty of cars on hand, looking more like properly manufactured machines than the ones I’m used to seeing…

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…as well as this specimen, which out docent told us was made at the plant in Walkerville - now the field where my pheasants now live. It’s always nice to run into a neighbour!
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The tires and their various tread patterns are always a delight for the uncommonly observant. I especially enjoy the clever use of the words “Non Skid” in the one design.
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The old automotive company logos are fascinating, ranging style-wise as they do from somewhere in Rococo and Art Nouveau…
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…right through to Art Deco with its stylized reworking of mythological and esoteric themes: Egyptian, Greek, and even Alchemical ideas all coming into play.*
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Coming back down to Earth, I spotted this hood ornament/mascot which again reminded me of my pheasant buddies. I could be mistaken, but I think it's a grouse. Still a nice field-dwelling bird!
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Henry Ford’s personal office at the Plant was a particular highlight. Here he is seated in it in a contemporary photograph:
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…and here is the actual room, recreated to look as it would have done the day that photograph was made:
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Naturally what caught my eye was the floor.
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Oh, that FLOOR!
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And if you find yourself fancying that floor as much as I do, and if you like working with WOOL, and knitting mittens, please do watch this space. (Ahem - say no more!)


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*No, the six-pointed star in that Dodge Brothers logo is not a religious symbol. Instead it is two entwined triangles, one light, one dark, and each stands for one of the two Dodge brothers themselves. Some of you might recognize those triangles as representing both Male and Female forces; the Light and the Dark; Fire and Water as in Alchemical pursuits; or as a symbolic representation of the esoteric tenet “As above, so below.” Whichever it is, they ultimately represent two necessary, differing forces coming together to create something greater than the sum of their parts, which is the same whether we’re discussing the nature of the soul of running a successful automotive empire.

The Dodge Brothers themselves have always seemed like peculiar characters to me in their own right, most likely because they died relatively young, both in the the same year and of their elaborate Egyptian Revival mausoleum in Detroit’s Woodlawn Cemetery. I fully intend to investigate them more deeply in the near future.
   

On Sizeable Shawls

I am currently knitting a shawl.  I have already sunk nearly two full skeins of Briggs & Little Regal (colour: Light Grey) into this shawl; am debating on whether I should end it here or crack into the third. Hm.
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Reasons to go on: the pattern is simple, enjoyable and a classic.  I've got the chart happily memorized.  It's not irritating me in the least, and I've only been working on the thing for about a week.  The yarn is one of my favourites and is an absolute dream to work with.  And really, what am I going to do with one odd skein of the stuff (plenty of things, actually - at 272 yarns a skein its mileage is impressive).
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I've just compared it to another shawl that I've recently turned out, and as it stands I could reasonably stop knitting this new one now.  It's completely functional at its current size and there's no shame in presently heading into the endgame.
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But I do enjoy big shawls - shawls that you can wrap around yourself for days.  But this begs the question: can a shawl ever be too big?  At what point does it stop being a shawl and start being a blanket?

And then this image popped into my mind's eye:
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Wear the shawl.  Don't give it the chance to wear you.

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(And be sure to cast on another right away!)

Meet the KNITSONIK Stranded Colourwork Sourcebook

Earlier this year, I took part in Felicity Ford's blog tour to promote her happily crowdfunded KNITSONIK Stranded Colourwork Sourcebook.  Now that the book is out (and currently available,) I had the chance to ask her a few more questions about both the work and her process.  Here's what we talked about this time around.

I am blown away by the detailed analysis you present of your swatches!  When I work I take similar steps but here you detail them all so it's clear to the newbie where you've come from and where you're going. Did you find it difficult to break down and so meticulously record and replicate your creative process?

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It took time and it was unfamiliar. I know my own way of doing things but knowing what you do and being able to explain what you do are two different things! Talking through the system with Kate and Tom was vital and it was only after going through it all with them that I was able to sit down and write out my own creative process, step by step. Once I could see that, it got a little bit easier to think about how to share it with a reader. Nic also really helped with finding clever ways to visually present the process once I had written it all down.

Do you now see the Things you've turned into knitted patterns with new eyes?  Has your connection with them deepened?

Absolutely. I have an extra special love for the EDIROL digital recorder now. As an object it was already special to me, but you would never think that just from looking at it. It's black, plastic, boxy... the buttons are all worn down and half of it is held together with gaffer tape! Yet when you see it with the swatch which it inspired, it is instantly apparent that the two things are connected. The vibrant knitting patterns somehow bring the recorder to life. Together they seem to me to be a very complete expression of an object that I love and a piece of knitting that describes that feeling.
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I also know my walnut tree so much better now than I did at the start of the year after documenting its leaves, bark, dyeing properties and resident birds, and now when I walk past places in Reading that I have used as inspiration for the Reading brickwork swatch I have a feeling of connection and celebration. I wonder what people would think if they knew that tiny details of their houses have now been seen by knitters all over the world...
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...and I feel compelled to keep checking up on the Art Deco factory to see whether demolition has begun yet. I worry about the day when I will round the corner and find the pink building is gone. The security guys keep saying "this month" but they've been saying that since August! After all the new memories I have created with that building - knitting from it, going there with Fergus (my brother and the book's photographer) to photograph it at first light - I will be sadder than ever when it is finally taken down. 
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Which of all the lovely swatches in the book is your favourite and why?

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I love the EDIROL swatch the best because it expresses so many really personal things about that recorder. I love that the grey transport buttons in my swatch are not always really clear because of the way I shaded them; in real life they are not that clear either as I have worn them down with use! And I really love that one of the patterns on that swatch is based on the settings on the back of the recorder. It's this silly nerdy detail which I like; knowing that the pattern came from where I have the sliders positioned when I record. The idea that you can create a visual pattern in knitting from a pattern of habit and use is one I really like.
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I do something very similar to this but when I look at your book I don't see my work, I see something that is completely KNITSONIK. Are you interested in seeing the results that other people produce using your methods?

Yes! I think it's fascinating that we all see the world in completely unique ways; I love that if you and I sat at a table with the same yarn and the same needles and the same inspiration source we would produce completely different ideas because we would notice and be drawn to different things. 

I was thinking about that in Shetland and wondering about developing some workshops based on that very idea because I think it would be amazing! Then a discussion started up in the KNITSONIK Ravelry group and now we are doing exactly that: an online swatch-a-long based on a single inspiration source with a big reveal at the end of February. Anyone is welcome to join in and the only rule is that you have to use a pomegranate as the starting point! I can't wait to see all the different ways that the pomegranate will be translated into stranded colourwork by all the different knitters participating... 
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The other swatches people have made using The KNITSONIK System have blown my mind. I especially like seeing how people come up with their palettes and document their process... everyone is so different and that's what makes it fascinating. I have the same feeling as you - I don't look at other people's swatches and see KNITSONIK; I see the hand of the knitter who made the swatch at work, and what they noticed in their inspiration source. I think that is beautiful. 

It is like how in my favourite field recordings I feel like I can hear the sounds that are being recorded, but also something of the recordist and their listening, how they have angled the microphones or positioned themselves in relation to the sound... something to do with personal taste and individual style, like handwriting.

I see you are a fan of somewhat tacky beer clip art and labelling. With the craft beer movement there are more creative beer labels around now that ever - do you think you'll ever immortalize another beer label/pump clip in knitting?

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I'd say it is inevitable! I love beer and especially craft beer from small indie breweries, and the artwork on the labels just gets better and better. As a beer drinker I am quite drawn to some of the more minimalist labels; I adore the beer produced by the Kernel Brewery for instance, and they have wonderfully simple, unfussy labels with black ink printed on brown parcel paper. Their little bottles, so unpretentiously packaged, contain some of the finest ales in the land. However, as a knitter, I am oddly compelled to beers featuring fussier labels. In terms of offering inspiration for stranded colourwork, the loud and highly pictorial designs with ships and animals and hops and Gods and so on do offer a bit more to work with. That said, now I am thinking about what could be done to describe those fine plain bottles of Table beer from the Kernel Brewery... 

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All photographs kindly supplied, once more, by Felicity Ford.  You can buy your own copy of The KNITSONIK Stranded Colourwork Sourcebook here.  If you'd like to read the earlier interview I did with Felicity you can do so here.   Don't forget to check out her blog, The Domestic Soundscape

Now We Are Two

It's both the blessing and the curse of plants - they grow.  Take this specimen - a nice potted mandrake - for instance.

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 This fine example of the knitter's - erm, gardener's - care clearly needs to be dealt with.  He's grown leafy and fine, but he might be getting a little too big for the pot that he currently calls home.  He either needs to be bumped up into a bigger pot or...

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...he needs to be split in two, and each half provided with a pot of their own.  Trust your gardener's instinct - you'll know what to do.

Ahh...that feels so much better!

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Hello, KNITSONIK Blog Tour!

My dear friend, the very talented and wonderful Felicity Ford has recently embarked on a campaign to produce a new knitting book unlike any knitting book that has ever come before.  Currently entitled The KNITSONIK Stranded Colourwork Sourcebook, this tome aims to be the go-to resource for taking those everyday things and places that make up all our little worlds and turning them into colourwork knitting patterns.  Word of this project - as well as the Kickstarter campaign to fund it - has been making the rounds on social media as of late, and today I am honoured that TODAY my blog is the designated stop on the KNITSONIK Blog Tour!  

Earlier I had the chance to throw a few questions in Felix's direction about her VERY EXCITING colourwork sourcebook.  This is what we said.

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