Issue 3: Occult

RADICLE THREADS MAGAZINE

FALL 2022

Editors

Design & Layout

Elisabeth Desamour Caroline Dick Shobha Nadarajah

Elisabeth Desamour

Social Media & Administrative Assistant

Technical Editors

Erin Battle

Lakshmi Ananth Sareena Granger

Wholesale & Distribution Caroline Dick Elisabeth Desamour

Photography Kalyn Barbary- Always Elizabeth Lanae Photography Vanessa Coquillo- Oven350

Models Djenane Louis-Jean Elisabeth Desamour Farah Francois Ruthly Francois Rudy Mat Tiasia Meadows

Contact Us radiclethreads@gmail.com

Find Us radiclethreads.com @radiclethreads @radiclethreads

Graphic Designer

radiclethreads

Fengyu Hao

Outreach Coordinator Caroline Dick Shobha Nadarajah

Email Marketing Caroline Dick

Marketing & Digital Content Coordinator Elisabeth Desamour Radicle Threads Magazine, Issue 3. Copyright 2022, Radicle Threads, LLC. The contents of the publications are the sole property of Radicle Threads, LLC and intended for personal use only. Although all precautions has been taken , Radicle Threads, LLC and its contributors assumes no responsibility for errors or omissions. Neither is any liability assumed for damages resulting from the use of information contained in the magazine.

CONTENTS SEED

06 Green Stitch Witch: Botanical Magic with Embroidery 12 Spell Jar & Macrame

RADICLE 16 Praise is What we do: Ancestral Veneration 24 Blood Magic 28 The Devil is Busy

LEAVES

31 Hoodoo Herb Gardening 38 Fennigan's Farm Journal

SEEDLING

61 Meet the Sample Maker 86 Meet the Dyers

BLOSSOM 42 Spicy Goat Brain 46 Baba Ghanouj 46 Kremas Ble Marin 48 Chitterlings 49 Calf Liver 50 Pig Feet 51 Chicken Liver 52 Diri Djon Djon

POD

CROCHET 60 Black Folklore Stories Blanket 71 Trellis Love Cardigan 75 Ezili Danto 76 Higher the Hat 79 Oshun Shawl 81 Karaveera Cardigan KNIT 92 Fanous Wrap 98 Juniper Socks 101 Kuro Sumi Scarf 102 Wigaya Beanie & Cowl 104 Igbo Landing Wrap 109 Ti Pye Zoranj Sweater

All pattern graphs, charts, & tutorial sketches can be found at https://wp.me/Pcy1CU-1dY Password is case sensitive 2022FALL

Our Reading List

Tanya Tagaq explores a world where the distinctions between good and evil, animal and human, victim and transgressor, real and imagined lose their meaning, but the guiding power of love remains.

This collection of 28 tales brings you wonderful treasures from a country that is rich in spirit and culture.

Through lively tales remembered from childhood, storyteller Liliane Nérette Louis shares with readers and listeners the warmth, fondness, and humor of her beautiful and mysterious homeland.

Sworn enemies, two witches enter a deadly alliance to take down the woman who threatens both their worlds.

Revenge is a bloody pursuit, and nothing is certain - except the lengths Iraya and Jazmyne will go to win this game.

In the company of a strangely alluring god and armed only with her wits, Casiopea begins an adventure that will take her on a cross-country odyssey, from the jungles of Yucatán to the bright lights of Mexico City and deep into the darkness of Xibalba, the Mayan underworld.

A powerful new collection of short fiction that draws on the folklore and legends of the Caribbean in sensual and disturbing tales that capture the dark worlds of the soucouyant (vampire) and lagahoo (werewolf).

Editors' Letter

In the past our ancestors hid their practices, of ancestral veneration, deity worship, knowledge of plant healers, stories of mythology, sacred and nefarious creatures. All these were packaged as Occult, defined as “supernatural, mystical, magical beliefs, practices or phenomena’.

In recent years, we have seen articles mention the “reclaiming” of the spiritual realm and how Black women are “returning to their ancestral religions. The wonder of this is, that these practices never left and in fact were and are kept alive by those who understood that one day, we, BBIMP would openly, with joy, love, community and respect, reclaim our ancestors beliefs.

The truth is that many BBIMP have shied away from this topic due to indoctrination through colonization which had and until today, insist that spiritualism, ancestral veneration and such, NOT fitting the mold and comfort of colonizers is wrong and shouldn’t be practiced.

It was a challenge in getting our communities to open up and share their folklore, designing, sharing articles and recipes focused on occult practices of their respective cultures. We are truly grateful to our contributors who trusted us and shared theirs.

We invite you to learn through the pages of this issue, some of the different aspects of the occult and encourage you to reclaim, explore and learn more.

Happy Learning. Happy Reading. Happy Making.

Editors-in-Chief

Shobha

Shobha Nadarajah @serendipitouswool

Caroline

Elisabeth

Elisabeth Desamour

Caroline Dick

@desamourdesigns

@cdickdesigns

SEED

Green Stitch Witch:

Botanical Magic with Embroidery My personal work explores the sacred in the process of creation using a language of geometric forms and color spectrums. The work becomes a quest for harmony, finding a dance of color, pattern, and texture within the chaos of material options. The transforming and evolving qualities of natural materials are embraced, and the use of discarded materials gives new life to that which has been cast aside. In 2015, I founded Mixed Color, a textile studio in the Catskill Mountains of Upstate New York.

Materials: 8” x 8” mid-weight woven fabric without stretch, like broadcloth or muslin Serendipitous Wool Co. 100% Silk threads and 55% SWBFL/45% Silk threads in colors listed for each embroidery.

by Christi Johnson

Supplies: Copy Paper and erasable fabric pen (if tracing), or printable transfer paper / stabilizer 6-inch embroidery hoop Size 24-22 chenille or tapestry needle Small, sharp scissors

For tutorial support, contact Christi at info@mixedcolor.net @christijay

Page 6

Bringing some herbal magic into your stitching! Whether you want to capture the essence of some of your favorite plants while they're still blooming, or the first frost has already passed and you're dreaming of your next foray with flowers, it's always time for herbal magic. Stitching a plant's likeness into fibers is a way to connect with a plant energetically by taking a deeper look at the turns, folds, and ripples of its physical form.

This is also a way to work with plants that, in their physical form, are poisonous - many of which have historically been used for protection - embroidering their forms channels their energy without needing to handle the plants themselves When thinking about translating a botanical beauty into stitches, we can easily tend towards a direct representation of the plant itself. While this is fine, I also encourage you to consider how the energetic qualities of the plant can be expressed through the image you create. What is this plant's tendency in growth - shooting straight up into the air like a stalk of a lily; or crawling along the ground and covering all in its path like a winding ivy? While we’re considering deeper ways of “seeing” this plant than with just our eyes, how can we interpret the colors?

Most plants have green elements to them, a visual cue of their chlorophyll absorbing the light, but what colors can you see maybe hidden under the surface? Is the green more of a dusty, milky shade… or an electric lime yellow? Study the plant beyond your five senses. Close your eyes and tune into the plant's essence - what else might it have to say to you?

The botanicals chosen here have all been worked with for medicinal and magical purposes in cultures from different parts of the globe. They are also mostly plants that

I’ve had the pleasure of growing in my garden (besides the amanita, which I’ve never seen in person) as well as plants that tend to walk the line between life and death; in both medicinal purposes and in their place in mythology. By working with these images, we can work with the essence of these plant spirits without requiring their physical presence.

Hellebore - One of those rare flowers that can withstand frost, this winter bloomer shines when so many others can’t take the weather. It has historically been planted as an herb of protection, much like many other poisonous plants. I chose to accent a black velvet jacket with its essence, highlighting its green and purple hues with shades of electric lime and purple. This pattern is best applied to a black background.

To Stitch Hellebore - (colors: forest, lanka, melodius, eternal in silk threads) All satin stitch has been done using doubled threads if you like a more neat and tidy aesthetic, feel free to use single threads. Fill in lower portion of stems and leaves using forest in a diagonal satin stitch. Fill in upper stem and leaves in lanka. Fill in base of petals and background petals in satin stitch in eternal, using long and short satin stitch in melodious to fill in petals closer to foreground. Accent inside of flowers with individual stitches in a single strand of lanka.

Poppy - One of the first flowers to bloom in spring, poppy is an easy to grow garden salve to the winter blues in the north, resurrecting us from the necessary death of the darkest part of the year. It’s known to be reflective of the moon (which is traditionally consulted in agricultural schedules) thanks to its milky sap, moonlike seed pods, and sedative nature. Both the source of opium and abundant flavorful culinary seeds, poppy’s symbolism tends to dance between fruitful abundance and the haze of dream worlds. I chose a soft wool yarn in shades of milky pink, on a lunar white wool background. This pattern is designed to work well on any color fabric, you may even choose your own three-color shading to better match your intentions if desired.

To Stitch Poppy - (colors: sweet notes, tannumai, winters heart, marigold, and melodious in swbfl / silk threads) All satin stitch has been done using doubled threads if you like a more neat and tidy aesthetic, feel free to use single threads. Using long and short stitch, fill in all petals, beginning with winters heart in the center. Grey lines indicate where each color begins and ends.

When stitching in a fan shape like the loose petals around the edges, the narrow pointed part of the fan will have much less stitches, simply add more stitches into each of the previous colors to fill in the shape.

Fill in the middle circle using satin stitch in marigold. Backstitch around this inner circle in double strands using winters heart, then using long straight stitches in a single strand of winters heart to create the radiating rays (this has not been included in the pattern as you’ll be stitching these after you’ve already filled in this area. Try your best, you’ll get there!). Using backstitch in a single strand of melodious, stitch wavy lines on outer edges of pattern.

Amanita, also known as Fly Agaric - While I can’t say I’ve ever seen this fungus (not actually a plant) in person, I’m fascinated by its bold hues and folklore. It’s not required that we consume the active neurotoxins this mushroom contains in order to expand our mind, especially without the guidance of trained healers. We can also use its imagery as a talisman to find our own ways of accessing spiritual realms. I’ve chosen an otherworldly neon pink for the main hue of this mushroom, accented with a third eye. This pattern is designed for black or dark fabrics, though switching out the stars in the background from white to black (and potentially outlining in a dark color) can also allow for this to be stitched on lighter shades.

To Stitch Amanita - (colors: silken, funky fuschia, popping poppy, winters heart, and lanka in swbfl / silk threads) All satin stitch has been done using doubled threads - if you like a more neat and tidy aesthetic, feel free to use single threads. Using satin stitch in silken, fill in dots of mushroom cap, whites of eye, and mushroom stem with satin stitch.

Backstitch lower edge of mushroom in silken with two strands, then backstitch remaining gills with a single strand.

Stitch star shapes in background with a single strand of silken. Using long and short stitch, fill in remaining space of mushroom cap with funky fuschia, popping poppy, and winters heart. In winters heart, fill in center of eye with satin stitch, and outline in two strands of backstitch. Fill in grass with lanka using satin stitch and single stitches for the little blades of grass.

Yarrow - This plant has been used medicinally as a styptic, to stop bleeding and promote healing. I chose the design of the caduceus, a symbol of healing and medicine to combine with the yarrow plant as a reminder of its healing potential. The snakes alternating shades of light and dark serve as a deeper symbol of balance in healing and life in general. This pattern is designed to be stitched on any color background, provided there’s enough contrast to see all the threads (feel free to switch up the colors as you’d like!)

To Stitch Yarrow - (colors: mossy, marigold, lanka, blue moon, depth in silk threads) using backstitch, stitch stems and leaves of yarrow in mossy - use a double thread for areas marked in blue, and a single thread for all other backstitched areas. All leaves are a single stitch. Fill in snakes using satin stitch in blue moon and depth. Add eyes using two stitches of contrast color. For flowers, each “petal” is a single stitch using doubled thread start by stitching all petals in marigold, then underline each of these with a stitch in lanka.

Stitch Instructions Backstitch -For each back stitch, you’ll be coming out a little past where the thread went to the back, then going back to meet the last.

So, after pulling thread to the front, insert needle 1/4" down the line, then bring needle out 1/4" further (A). Return to the end of last stitch, bring needle out 1/4" further (B), and repeat (C)

Satin Stitch - Bring thread to front on one edge of pattern, insert needle at opposite edge, then bring needle back out right next to where the previous stitch began. Repeat. The back will look just like the front.

Shading with Satin Stitch (long and short stitch) - Each row of color should be staggered where it meets the next row; hence the “long and short” name. The next row of colors should be stitched INTO the last row of stitches, inserting the needle into the end of the stitch to overlap the colors. Long and short stitches do not need to be evenly spaced, they can be organically stitched.

Spell Jar & Macrame

by Whitney Elliott

@doublerainbowdesign

I'm a fiber artist and a self proclaimed crystal witch from Maryland, USA. I create intentional art often adorned with crystals. After experiencing pregnancy loss in 2018, I became divinely guided to my current life path: to spread love and joy through art and crystal magic.

For tutorial support, contact Whitney at doublerainbowdesign@gmail.com

Materials needed for this project Small glass jar with lid Cinnamon (sticks and ground) Rose Quartz crystal chips (feel free to use what crystals you have on hand or what you feel called to) Pink/red candle or wax for sealing Dried flowers (I’m using lavender and rose) Honey Pink salt Incense

If you would like to learn how to add a macrame hanging cord, you will also need 1 15mm wooden ring, 2 pieces of small rope or string measuring 24-48 inches total (the longer your string, the longer your hanging cord has the potential to be). I am using 1mm braided string here.

Note: If you would like to add a hanging cord to your jar, do so before adding the spell jar ingredients.

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Finished project without added macrame hanger.

Begin by cleansing your jar with incense smoke. At this point I like to start focusing my intentions into the jar. Try affirmations that resonate with you if you’re not sure how to begin.

Examples: I am love. I have abundant love. Everyone around me loves me. I am always attracting love. My twin flame is on their way to me. I am in love with everything this life has to offer. I love myself. I love my life.

Add each element while continuing to focus intentions into the jar. I like to add them in this order: Pink Salt: Cleanses aura, promotes love Lavender: Aids in relaxation, promoting time for self-care and expels anxiety from one’s life Honey: Sweetens the spell Cinnamon: Draws love, happiness, and prosperity Rose Petals: Healing and peace of mind Rose Quartz: Opens the heart chakra

Heat your wax or light your candle in preparation to seal your jar. As you pour the melted wax over the top of the jar, imagine yourself or the recipient with a life full of joy.

Visualize, as the wax begins to seal the jar, how being in love with yourself feels. Find a really great feeling and focus on it as you finish sealing the jar.

To make a hanging cord for your spell jar: Larks Head Knot Take the two pieces of string and fold them in half to create a loop.

Put that loop through the wooden ring and pull the other end of the cords through the loops to create a larks head knot.

To create the rest of the hanging cord, you will use the spiral knot. To create this knot: You will have four hanging cords in total, two middle ones are anchor cords and two side ones are tying cords.

Take the right tying cord and pass it over the anchor cords and under the left tying cord.

Pass the left tying cord behind the anchor cords and through the loop formed by the right tying cord.

Pull both tying cords to tighten the knot.

Repeat several times until your hanging cord is the length you’d like.

Continue to spiral knot until you reach your desired length.

Once your cord is as long as you want it, simply tie the hanging ends around the neck of your jar and secure it with a regular overhand knot and trim the ends as close to the knot as you’d like.

You can add beads or embellishments to the extra hanging cord if you feel led to do so.

RADICLE

PRAISE IS WHAT WE DO

ANCESTRAL VENERATION B y C y n t h i a D o r r o u g h @highcontrastknits

When the idea came up for this article, it was born from a place of longing to see my culture discussed by people who looked like me and wrote from a place of lived experience, not as an outsider observing and inferring about practices they knew little about. Now, understand that my culture is heavily reliant upon orally passed traditions and sage wisdom from parent to child. We were told this information is “caught not taught” so things were lost the further removed we became from our source combined with the infrequency of oral traditions and customs being passed down to younger generations. Unfortunately, as descendants of those who were brought to the shores of this stolen land, we were dispersed across this country like seeds in the wind trying to bloom where we were planted, but we can’t deny from whence we came even though distance and time disconnected us. Also, as people who were able to retain knowledge of our traditions and lineage, many have taken up the mantle of educating those who have been disconnected from their lineage and prompting them to reconnect with what is rightfully theirs. A connection to your lineage and identity is your birthright.

Page 16 Page 28

Initially, I wanted this article to be academic in nature, but I felt like I wanted more time to delve into ancestral veneration as it pertained to those who are part of AfroDiasporic religions, traditions, and paths. This is a topic that is deserving of in-depth study, so much of my research will have to be saved for another day and hopefully another writing. Eventually, I realized I wanted to foster a connection so other BBIMP (Black, Brown, Indigenous and Melanated People) can see our commonality and hopefully this article encourages others to establish or strengthen their connection to their ancestry. We are standing at the precipice of great change, where BBIMP are reverting and connecting to the ways and spiritual practices of their ancestors. Many BBIMP are reclaiming, revisiting, and participating in movements to rematriate their ancestral lands.

First, I am going to remove any ambiguity you may have about me and what I’m about to say. I practice Hoodoo[1]. My practice has roots in the coastal regions of South Carolina and Georgia, and It is a part of my culture. Hoodoo is unapologetically Black, plain, and simple. Now that we got that part out of the way, I am going to discuss what we came here for, and that is ancestral veneration. I will discuss what it is, what it isn’t, the why, the how, the when, and even share my experience connecting with my ancestors.

Ancestral Veneration is defined as the practice of honoring and showing great reverence to one’s deceased biological (and non-biological) ancestors. The concept of honoring those in your family who came before you and are responsible for your being here is not a novel or strange concept. The veneration of one’s ancestors is based on a love, respect, and appreciation of them. We hold remembrance for them and honor the lives they led, and the sacrifices made.

Worship as defined by the Oxford dictionary is the feeling or expression of reverence and adoration for a deity. Now, you may ask “what is the difference between veneration and worship?” In many cases, you even see the terms being used interchangeably. While some authors use the term interchangeably, there are many of us in these Afro-Diasporic religions that make a distinction between the two. For many, worship is relegated to a transcendent creator entity. You may hear names for the Creator deity like Bondye or Gran Mèt in Vodou and Nsambi or Sambia in Palo Mayombe.

Other Afro-Diasporic religions have their unique names for the Creator or supreme being. In short, I differentiate between worship and veneration in my practice based upon the entity being honored. I reserve worship for God the Creator of the heavens and Earth, where praise and reverence is a huge part of my worship. I venerate and honor my ancestors, but I do not consider worship being a part of honoring my ancestors. For example, we honor people like Dr. King and have celebrations of his life and achievement and memorials commemorating the anniversary of his death.

1 Hoodoo is a body of sympathetic magic traditionally practiced among African American people in the Southern United States.

The origins of Hoodoo are Kongo from the Bakongo region in Africa and was transported to the United States during the Atlantic Trade.

However, I have yet to hear of anyone worshiping Dr. King, but he was definitely a person who is worthy of honor and veneration.

We revere and venerate our ancestors for a myriad of reasons, one reason is to show how much we love and respect our ancestors for being the vehicle in which we arrived here. There is a belief that it preserves the connection between the past, the present, and future of a bloodline. Preserving the relations we have with our departed kin is what aids us in keeping these bonds tight across the generations. The preservation and continuation of our lineage is why we bestow honor unto our ancestors, and we praise and worship God that brought us from antiquity to present-day. Honoring our ancestors that we knew in life is also a source of comfort and it eases grief and anxiety over the loss of a loved one and even provides solace to the living that may have anxiety regarding mortality. In Afro-Diasporic paths such as Hoodoo, Vodou[2], and Palo Mayombe[3] Ancestral veneration is at the core of these practices because our ancestors serve as protectors, guides, counsel, and intercessors in the spiritual realm, just like they did in the physical world. In short, I was taught that how that person loved you in the earthly realm is how they will love you in the spiritual realm. That information is what guides me in how I choose to honor my ancestors and it is the basis of how I worship God. One of the outwardly visible displays of ancestral veneration and worship is through the establishment of a dedicated sacred space. The most familiar sacred spaces to many are the altar or boveda[4] and the shrine. The altar is a space that is used as the focus for a ritual or making of a sacrifice or offering. A shrine is a place regarded as being holy because of its association with the divine or a sacred person or relic. It is typically marked by a building or some construction. This article will center more around the altar than the boveda or shrine. In several Afro-Diasporic religions altars (or bovedas) are constructed to venerate ancestors or a deity. For many, the altar is a spiritual pathway that allows the person to connect with their ancestors in a sacred space.

There are several schools of thought that are centered around the creation of an altar, from the where to what is placed on the altar, down to what materials the physical altar is made of. At the most simplistic, the ancestral altar would consist of photos of ancestors (if available), a candle, and a glass of water. There are examples of elaborate altars, and it is up to the guidance of the practitioner’s ancestors and spiritual practice.

2 Vodou originated in Dahomey (present-day Benin, Nigeria, and Togo) and was transported to the West Indies including Haiti around the 17th century.

3 Palo Maymobe is a Kongo derived religion from the Bakongo region, and this religion was transported to the Caribbean during the Spanish slave trade. Palo Mayombe was mostly in Cuba and parts of Puerto Rico dating back to the 1500s.

4 Boveda literally translates into vault, it is a specific area constructed to foster mediumship and communication with guardian spirits. Bovedas are created in religions like Lucumi, Palo, or Espiritismo

As one’s connection to their ancestry strengthens, you will know what you should add to the altar, but to start out, photos, belongings, or things your ancestor liked, and a glass of water is suitable. I also want to caution you about safety if you plan to use candles or will be working with incense on your altar. Please practice appropriate fire safety measures. As stated previously, as your connection to your ancestors increases or you gain a greater understanding, you will determine what will go on your altar. For example, I don’t receive a lot of traffic in my home, therefore my altar is in an open space in my house. I do not photograph, nor do I allow photographs of my ancestor altar because that is something very intimate. On my altar I have my ancestors’ obituaries, a Bible, an incense holder, a glass of water, and occasionally other things will be added to my altar as the occasion arises. I tend to my altar on a weekly basis, which consists of wiping down the table, changing the water or beverage and replacing anything that has gone stale or has died.

I have received questions from those who have no connection to their biological family or have limited connection to their biological family. That does not mean you can not create an ancestor altar. It is understood, especially among descendants of the African diaspora, that our history is migratory in nature and many artifacts and information have been lost in transit. I recommend as the first line of defense is to talk to your oldest living relative and listen to those stories for names and places. If you have access to a family Bible, that is an excellent source of information because our elders wrote every birth, marriage, and death in that Bible. Those places are a start, and from there you can use genealogical sites like ancestry.com or familysearch.com (free). I will provide a word of caution, the 1870 Census is the first census post-1865 where recently emancipated Black people were factored into the census count and no longer counted as property. It is an obstacle, but not necessarily a barrier. There are other resources such as the Freedman’s Bureau that are viable resources as well. In the event you don’t have any connection to any of your biological family due to a closed adoption, you can honor your adoptive ancestors and you can also state a prayer for connection to your unknown biological ancestors, spiritual guides and those from your bloodline who wish to protect you and provide counsel.

Ancestral veneration is not novel nor new. It was practiced in antiquity across many cultures and continents. As BBIMP, understanding the importance of lineage and legacy is something that unites us. The Afro-Diasporic religions I mentioned in this article: Hoodoo, Vodou, and Palo Mayombe are several hundred years old as we know them, but we understand that each of these religions have roots and ties to the African continent. There is no denial we are branches from the same tree. Keeping with that frame of reference, I am about to encroach on a controversial part of this discussion and the inclusion of the Bible. I understand the Bible is a polarizing book, and this article is not a theological or hermeneutical debate about the Bible, its origins, and its use, but I would be remiss if I didn’t discuss ancestor veneration and practices in Hoodoo from the Coastal Carolinas, Georgia, and Florida areas or Vodou as it shows up in Louisiana, and the Gulf of Mexico region without bringing the Bible and its influence into the discussion.

It goes back to the Transatlantic Slave Trade and those involved in the trade from the 16th to the 19th centuries, which include the Portuguese, British, Spanish, French, Dutch, and the Danish.

One of the things that was not permitted by free and enslaved Black people in French colonies was the ability to practice their traditional religions, nor were they permitted to gather in groups larger than three people. The first Slave Codes were instituted in Barbados in 1661 and those codes served as the influence for several other Slave codes which prohibited both free and enslaved Black people from outwardly practicing African traditional religions and making it unlawful to teach an enslaved person to read.

The Code Noir in 1685 mandated the conversion of all enslaved people throughout the French colonial empire to Roman Catholicism. France lost most of their colonies in North America, the Caribbean, and India after the Seven Years’ War. The French colonies in North America were lost to Britain and Spain, however Spain returned Louisiana back to France in 1800, where it was sold to the U.S. in 1803. Therefore free and enslaved Black people in order to be able to practice their religion without penalty or persecution used Catholicism as a “wrap-around” so they could practice their traditions without interference of the French and Spanish colonizers.

In several of the “original 13 colonies”, the Slave Acts weren’t directly imposing on the religious practices and requiring conversion like the Code Noir, but the 1680 Slave Act prohibited gathering and movement associated with ceremonies, rituals, feasts and burials. It was understood traditionally African religions are communal, so that was one of the earliest occurrences of the restriction on African American religious assembly. In the predominately Protestant colonies, slave meetings for religious purposes were considered “unlawful meetings” or “riots” if they were spirited or they “disturbed the peace” or used “anti-religious” terminology. So, it was determined the restrictions on enslaved persons gathering for religious purposes was acceptable and would confer a type of “freeman” status if they were acting as peaceful church members, which would be equated to worshiping as the slaveholders did, (i.e. Protestantism) In both instances, Catholicism and Protestantism were treated as a “wrap-around” which would allow for those who were enslaved to practice their religion covertly while still being able to gather in community. As time progressed and the Black population of South Carolina surpassed that of the white population, more stringent laws governing how enslaved people could gather and worship out of fear of an uprising such as the Stono Rebellion of 1739. The stringency of the laws placated the fears of the slaveholders, after anxieties centered around a rebellion was directed towards enslaved persons along with linking a revolt to that of the religion of the enslaved since the Stono Rebellion occurred on a Sunday when men were at church and the plantations were left defenseless. Eventually, the very thing used to attempt to subdue enslaved Africans from practicing their traditional religion was the very tool that created fuel for the very insurrections they feared. The ability to gather peacefully to worship created opportunity to plan, strategize, and organize and the very words provided the dogma to support their uprisings, assuage those who had doubts about a successful execution, and dispel misgivings around the mission.

I believe conversations about ancestral veneration require a discussion centered about ancestral connection. I am also a firm believer that conversations centered around Afro-Diasporic religions deserve a conversation around the history of the people who practiced, the land they lived on and the evolution of their practices before people dive in and commodify centuries old practices because it can guarantee a paycheck. As BBIMP we owe that to ourselves as we revert, reclaim, and rematriate the religions, the languages, and the lands our ancestors dwelled on, and owe that to our children and those coming after us as we bridge the past to the future.

I am the owner and designer behind High Contrast Knits & Design. I reside in Atlanta, Georgia where I'm teaching knitting classes, actively designing or tech editing knit and crochet patterns. I fancy myself an amateur historian, gardener, and baker in the event I get any downtime.

Photo Credits Communion by Brassfly Studio Ancestor Altar belonging to Nana Lawson Bush credit: Dr. Nana Lawson Bush, PhD The Trans-Atlantic and Intra-American Scandinavian Slave Trade Map by Alan Craig Image of a Ring Shout credit: Golden Gate International, http://www.blackmusicscholar.com

Blood Magic Written by Fallon R. Hamilton

Womanhood marked the beginning and ending, the Alpha and Omega, or better known as the day that life changes for the women in our families. To me, womanhood meant seclusion and being buried away for weeks at a time as the elder women in our village stirred thick potions that made smoke billow through the sky in preparation of the ritual. To the other girls in our village, womanhood was looked at as a special time where we would all be allowed to partake in a certain magic of which the men were not privy. I, unfortunately, did not share in their excitement and wanted no parts of whatever was being stirred into that potion by the gray-haired grandmothers who reigned supreme in our society. I had witnessed my older sisters and favorite cousin go through that change, and I did not want to lose the parts of me that were most familiar to me, as they had, becoming fragments of the people I once knew and loved.

Page 24

Mama told my sister and me about the day that she became a woman. She said womanhood made her feel powerful, yet there were still parts of it that she did not wish to share. It was those parts that she did share that I was most afraid.

I was approaching my twelfth summer when the elder women of our village came to our home bearing gifts for my father. My father greeted them uneasily. I had never seen so much fear in his eyes as he hesitantly accepted the wilted flowers and rotting fruit from the women. He took them and placed them at our altar near the back of our home.

The women did not say much but I could feel them sizing me up as I tried my best to remain hidden behind my mother. They did not announce the reason for their visit, but I could sense that their purpose had something to do with me. Begrudgingly my mother began to gather my belongings. She folded two of my sleeping gowns in her arms and then began to collect dresses and undergarment from the chest at the foot of

my bed. I was too afraid to question her actions because she moved with a seriousness and purpose that I recognized from the last time the elder women had visited our home. I could feel the nervousness radiating from her as she moved about our home slowly adding more items to the things she had already collected. Once she finished gathering my belongings, she kissed me on the forehead and told me that it was time for me to come into my power; I would be leaving with the elder women.

The elder women had called us together for the reaping. During this time, the moon was at its biggest and brightest, and the powers of the women in our village was at its’ strongest. The fullness of the moon invited the blood that flowed freely through our veins to take on a life of its own and the coming of that first blood would make us all as magical as our mothers and grandmothers before us had been. This gathering of us to source that power was the reaping.

They brought us to a remote area near our village that was densely covered with evergreen trees. There was a pile of tree branches burning slowly that the elder women ushered all of us to gather around. I recognized a few of the other girls from the classes that we were forced to take before we were separated from the boys our age. Some of them looked just as frightened as I was while others stared bravely into the flames as the oldest elder woman took her place of prominence near the flames.

“You are here because you possess the blood,” she said loudly.

“And once, the blood flows, you will take your position of righteousness over the men and become gods.” We continued to stare at her in bewilderment as she slowly began to lift the bottom of her dress. Underneath the dress she was wearing undergarments woven out of golden threads. Our eyes were transfixed upon her as she continued to undress. Her naked breasts were weathered with age and hung to her stomach, which was adorned with ropes decorated with shiny beads and stones that shined brightly like the stars. It was as if she were a siren, and we were the souls lost in her song. To be the oldest of the elder women, her body moved with a youthfulness that had long escaped her as she walked by each girl steadfastly. “Our power comes from the blood, and my blood has kept this village alive and well for centuries,” she said, “Tonight, I will give of my body so that you all may know the ways of our women. After tonight you will be magic.”

That night the elder women explained to us how we were to use the power of our blood to protect our village and to keep the natural order of ways. The blood that would soon flow from our bodies would make us invincible, as it had hundreds of women before us, and we had to be mindful to protect ourselves since we now possessed its power. It would be the basis for sustaining our society and we would have the power to both create and destroy life.

The blood, when used in our rituals, had the power to protect our families from our enemies and make them fall in love with us.

It gave us the power of seeing beyond the veil and into the realm beyond the living.

It connected us to our ancestors and must be cherished the entirety of our lifetimes because it was so powerful. The blood would separate us from the men in our village who were only strong in body but not powerful enough to truly sustain our way of life, and even then, their physical strength was not of the magical proportion. We, and we alone would preserve the ways of our people.

We spent the remainder of the night watching the moon disappear into the inky darkness of the sky as we learned more about our magic. We listened to stories that had been repeated by lips thousands of years before we were ever borne. The oldest elder gave her own blood that was stirred into the potion the other elder women stirred so meticulously. This potion would help ease our pain of the first blood. We would also use the concoction to create a barrier around our homes for safety because once the first blood came so would the devils that sought us out to steal our magic. By the time the sun showed its face, I was relieved to find out that I was still myself, despite the wealth of knowledge that had been bestowed upon me. I knew that I was now taxed with the weight of the world; I was woman and could not take that responsibility lightly.

I'm creatively known as F. Renee Hamilton, a legal aid attorney by trade but dedicates my free time to writing and the literary arts. I'm a firm believer in the power of words and use my platform to amplify marginalized voices. While poetry is my first love, I am currently writing my first fiction novel.

DEVIL T H E

I S

B U S Y

B Y

F A L L O N

R .

H A M I L T O N

“The devil is busy.” She said under her breath, “He shows up every time.” My mama spoke that bad omen so often when I was growing up that it became embedded in my everyday life. I was constantly looking over my shoulder always expecting to see some pointyeared creature, eyes glowing yellow, teeth stout like rusty nails, tail dangling seductively peeping around the magnolia tree looking at me. It was my own devious cryptic fantasy. I wanted that devil mama always spoke of so badly, and she saw Him often. The last time she saw Him was the day after Christmas. My older sister had cried her eyes out because he did not do what he said he was going to, and there was no ten-speed bicycle under the tree as he had promised. My mama sucked her teeth and let out an exasperated sigh before she made her favorite proclamation. “The devil is busy!”

The devil was busy. He always showed up when all the money had run out and mama had to beg her special friend for just enough to get by until the first of the month. The devil was busy, and always showed up with an unwarranted apology when the show was over, and all mama wanted to do was go out for once and finally have a fun time. He had a propensity for being late as much as He was busy, but it never stopped me from looking, waiting, and wondering when I would finally catch a glimpse of Him. My mama was not the only woman in my family who had seen the devil. Growing up in rural Louisiana afforded many opportunities to bear witness to just how busy the devil could be. Every Sunday I heard the ladies of the congregation Page 28

whispering amongst themselves, sharing stories about the devil showing up and wreaking havoc on their lives as my grandmother looked on in understanding. It shocked me to hear the retelling of how he had rode Sister Claiborne raggedy… She had shown up at church with scratches all over her face and arms. Her eyes were still swollen from a night of crying, only partially camouflaged by the thick concealer she had applied to her face. I heard another member of the congregation tell my grandmother that laying down with the devil was a dangerous game. My grandmother just shook her head in agreement and affirmed my mama’s favorite saying. The devil is busy.

Before my grandmother went to bed every night, she repeated the same prayer, would place a fork under her pillow to prevent those haunts from entering her dreams and then would tuck her Bible under her mattress always turned to James 4:7. “Submit yourselves therefor to God. Resist the devil, and he will flee from you.” That lady was constantly trying to outrun the busyness of the devil. It was as if it was her personal mission in life to always be two steps ahead of him. Throwing salt over her left shoulder to blind the devil if he were ever too close behind her was customary practice, as was staying prayed up as she liked to call it. My grandmother would go into a trance speaking words in repetition and chanting harmoniously as the candlelight flickered in front of her. She always looked like a powerful witch completing the steps of her magic spell as she went about her evening routine. But I would never tell her that out loud for fear of summoning that devil who was so busy. Besides, my grandmother was ‘saved.’

Throughout the years it became evident that in my family and other families like mine, being ‘saved’ was supposed to save you from the devils’ busyness. Every Sunday sermon reminded us that the devil was in the world throwing a wrench in everyone’s plans, but salvation was only the way to slow him down. Follow the word, do as the bible says, and pay your tithes to keep the devil away. I saw the women of my family follow those rules to their detriment.

My mama and grandmother even went out their way to do those other things that I was not supposed to mention in front of church folks. Although my best friend had confided in me that she once heard her mama say the devil was busy and witnessed her immediately go to her cabinet and retrieve some salt to throw over her left shoulder, just like my grandmother always did. I saw it often, how we were a walking contradiction of ourselves. Keeping our secrets private and proclaiming every mishap to be the busyness of the devil never taking the time to find the real culprit of our downfalls. It did not stop me from wanting to see him though. He was everywhere, and I promise my mama spotted him at least weekly. Always when her spirit was weary, or when the mail came late. The devil is busy! He was all up and through our home at any given moment, when the phone rang with bad news, or when my mama had to stay at work because her relief never showed up. I remember asking my mama why he was so busy, and she said because he always had been.

She said He was busy when those crosses were burning in my grandmother's front

yard all those years ago when she was a little girl. My mama also said that the devil had been busy even in those years before my grandmother was her mother. The devil had been busy snatching little boys from their beds and doing treacherous things to them.

He had also been busy every single time my great-great-great grandmother birthed a baby that had eyes the color of the sky and skin like ivory even though she had been a dark-skinned woman and never once laid down with no man outside her Abe. Her Abe, who was black as night but always loved those children like they were his own, like nothing was wrong. In fact, the devil had been busy since the beginning of time, or at least since our existence amongst the cotton and sugarcane fields of this part of Louisiana.

It had been Them that told us about the devil in the first place. According to my mama the devil was always causing trouble for Black people when they least expected it, stealing our freedom, our culture, and our traditions, making us feel shame instead of proudly displaying our talents. His influence was everywhere. He made our men forget how to treat a woman and made sure to do his best to break apart our families. The devil had time on his hands to stay busy and one of his most favorite things was causing problems in the lives of people who looked like us, who were just minding their business and trying to live their lives without any interference from him. That devil was busy, and He was quick. So quick that I still had not been able to catch a glimpse of Him. It was towards the end of my teenage years and approaching grown womanhood when I finally ended my quest to see the devil. By that time, I was convinced that I would never be fast enough to see him.

I threw salt over my left shoulder like my grandmother had done for so many years and kept my fork underneath my pillow. I prayed and prayed to keep the devil away and as I entered the latter years of my life, I forgot my quest to catch him in the act altogether. The whole idea became a memory lost with time as I casually folded the clothes that my husband had left outside on the line to dry. The air was crisp around me, and then I began to hear the phone ringing in the other room. As I approached the counter to answer it, I felt a heaviness come over me. It continued to ring, but I could not bring myself to pick it up. I hesitated as those words my mama used to proclaim so loudly about the devil being busy echoed in my head and in that moment, I realized it was my turn to finally see him.

LEAVES

by Rick Flare

Growing up southern and hearing all types of southern folklore, I always found southern folk magic interesting. "Hoodoo" is a southern folk magic that comes from southern slaves that sought to not only use their own beliefs but adapt them through southern culture. I was Intrigued about hoodoo because even though it has their roots in African deities and practices, the stories of hoodoo are deeply ingrained into southern culture as well as historical events such as

slavery and immigrants coming to America during the Industrial Revolution.

Hoodoo wasn't just practiced by those who were enslaved, freedmen & women also practiced hoodoo as well as immigrants. Hoodoo, rootwork, and root doctoring are a type of folk magic that comes from the southern states. Its origins were in West Africa among the slaves brought over to the United States during slavery. Root doctoring was practiced as early as 1621 by African slaves as they merged their own beliefs with those of European ones gaining root doctor figures such as John the Conqueror root, High John root, and Jim Crow root. Root doctor figures or root spirits are used in hoodoo for an array of reasons such as luck, finance, love, and protection.

Along with root spirits, root doctors use a variety of southern hoodoo herbs and plants in their rootwork.

Here are 6 herbs that we use in hoodoo that you can grow in your very own personal garden and are very easy to grow. Some can grow even indoors if your climate doesn't permit certain times out of the year.

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Hibiscus - The flowers of this common garden plant are added to baths to attract love, especially when combined with Jasmine. Place petals in a sachet or cup of water on your dresser or bedside table to draw romantic dreams. Hibiscus is also used for protection and to break hexes and curses brought about by jealousy, gossip, infidelity, bad-mouthing, or even sexual problems. Hibiscus flowers are the ingredients in hoodoo spiritual baths that are used for love, divination, and prophetic dreams. The red hibiscus is especially powerful for drawing love to you. If you're looking for a new love interest, fill your tub with water as hot as you can stand it -- take a few hibiscus blossoms and swish them back and forth through the water while letting them steep in the tub alongside you. Hibiscus flowers are also included in spiritual bundles and mojo bags along with other ingredients such as salt, cinnamon powder, nutmeg powder, cloves, lemon rinds, and bay leaves.

Legend says the soul of the Hibiscus flower is that of a young woman who was killed by her lover because he could not have her. She now seeks revenge on men by stealing their souls through sex.

Peppermint – This fragrant herb cleans out negative energy and imparts a feeling of well-being. It can be used to purify a space before performing magic.

Use it to anoint ritual tools and candles.

Mix with dried orange peel for a powerful floor wash to break hexes, curses and spells brought about by jealousy, infidelity, or bad-mouthing.

It is used in opening your roads of communication and attracting new opportunities, mixed with money herbs, it carries the energy of prosperity and abundance to your doorstep. It is also commonly added as a sachet in cash boxes and wallets as well as carried as a good luck charm. Also used for spiritual protection, healing, and psychic awareness; spiced tea is made from peppermint herbs boiled in water with sugar or honey. Use this herb as an offering to the spirits during ritual work along with burning it to attract money and prosperity. Carry spearmint herbs as a lucky charm for gambling success or carry some around your neck to ward off bad luck, danger, and evil forces. Sprinkle dried peppermint herbs into hot water along with your favorite oils for a relaxing bath that brings peace and mental clarity into your life.

Peppermint is a great herb for spiritual cleansing and purifying rituals as well.

Peppermint, a plant in the Mentha family, can be grown from seed or cuttings.

Peppermint grows best in full sun and well-drained soil where it will grow 1 to 2 feet tall. A slow-growing perennial, this mint prefers moist conditions over dry soils. This mint does not like frost so you should protect your plants during colder months by covering them with mulch or planting them indoors if needed.

Harvesting of leaves should begin when the plant reaches at least 6 inches tall; harvest before flowering occurs (if possible) Rosemary – This powerful herb works on all levels, physically, spiritually, and emotionally. Burn rosemary at work to increase your productivity, or carry some with you for selfconfidence and courage when meeting new people. The herbs encourage clairvoyant visions and dreams along with bringing friendship and peace into your life.

Added to bath water, it facilitates confidence and charisma wherever you go.

Rinse hair in rosemary herbal infusion for psychic powers;. Try using rosemary essential oil (or dried herbs) in a floor wash to remove negative energy and bring good luck.

Rosemary is easy to grow indoors, but make sure it gets enough light, or the leaves will turn yellow. Use a good potting soil, with moisture control to keep the leaves from drooping. If growing outside, plant in well-drained sandy loam, protected from strong winds. It likes moderate temperatures and does not like too much heat or too little sun. Preferred growing conditions are hot and dry-mesic. For growing indoors consider using black pottery as it absorbs more heat during cold weather which encourages its growth.

Also, remember that pots should be "bottom-heavy" to prevent tipping over when watered.

Lemongrass – This herb is added to baths or sprinkled around the house to scare away spirits and ghosts as well as negative energy.

It is also used in money drawing oil mixes, sachets, and conjure bags for wealth and prosperity. It can be combined with herbs such as peppermint, patchouli, and rosemary for a strong money-drawing mix that you should place your purse or wallet upon each day to attract money.

This herb is used in many hoodoo spells for cleansing the home of negative energy that may have attached themselves due to spiteful neighbors or relatives sending them your way via evil eye looks or hex bags.

Use lemongrass in mojo hands and sachets for luck or when you need help with mind matters such as learning new skills or passing exams. Burn the herb on charcoal tablets when you are smudging your home too so it removes all negative energy within your four walls.

Lemongrass is a wonderful herb to grow in the home, not only does it bring good energy inside but also keeps away negative energy from you and your family.

You can buy a small pot of lemongrass for around five dollars at most health food stores or online. Use some good quality soil when growing lemongrass as it will absorb nutrients from this, making your plant thrive. When growing from seeds you should water daily until they sprout and ensure that your plant gets two teaspoons of liquid seaweed every month past the first month. This seaweed boost will make your plant very healthy and encourage new growth too!

Lavender – is one of the herbs to remove jinxes and break nasty spells sent your way by enemies. It can be burned in smoking herbs too so use it when smudging your home thoroughly to clear away evil spirits and any unwanted energy. It can also be added to money drawing oil mixes and sachets, love herbs, and herbs for purification.

This herb is added to baths or sprinkled around the house to purify it from negative energy. It also helps remove jinxes and break nasty spells sent your way by enemies. Lavender should burn well in smoking herbs too so use it when smudging your home thoroughly to clear away evil spirits and any unwanted energy. It can also be added to money drawing oil mixes and sachets, love herbs, and herbs for purification.

When growing lavender, it's important to use good-quality seeds and start with the freshest seeds you can find. They have a growing season of three months.

If you live in a climate that only has two growing seasons, then the seeds should be started inside at least two months before transplanting outside. Before planting, soak the seeds overnight. This will help ensure that they germinate.

Plant outside in full sun.

Lemon Balm - Use this herb when working on any type of mix used to attract money or wealth. It also works well c used in spells for psychic powers, clairvoyance, and divination. Burn lemon balm with frankincense incense or cypress incense to break up negativity in your home, this is also an effective spell for breaking hexes. Use lemon balm in all kinds of spell work, whether you are looking for love, money, protection, or luck.

Lemon balm is a fragrant and hardy perennial that will grow and thrive in almost any condition. Grow Lemon Balm from Cuttings. Pinch back growing tips of lemon balm to promote bushiness.

Harvest fresh leaves as needed from growing plants. Freeze excess leaves for later use to conserve their beneficial properties.

Growing up in the south, I saw firsthand workings that stemmed from the older generations from making a poultice to put on boils under the armpits to soaking the feet or rubbing horse liniment on aching joints. Growing my first black eye pea in a cup in elementary school is where my green thumb began.

Now as a fulltime root doctor, I own a garden that's in the process of expanding into a farm.

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FENNIGAN’S

I woke up and had no idea what day it was.

For a full 5 minutes, I listened as my alarm played through Stevie Wonder’s “Blowin’ In The Wind” while I tried to use the context clues in my room to fill me in. As the last few notes played off, I realized that it was just a quiet Monday morning. Everyone must have been out or occupied and I was home with absolutely nothing to do. After about 30 minutes of daydreaming, I decided I had to get up. I felt guilty about not doing anything immediately after waking, and my body was getting restless.

It was cold outside and my hand was still in a cast, which meant I wouldn’t be tending any crops. There were no new projects, no new clients, and everything on my work todo list was tabled for the next three months. Even my hobbies felt complete.

FARMS JOURNAL PART THREE In the middle of October, my sister, Claire and I decided we were going to take three months off to rest, join with the community, and visualize. We set aside November, December, and January to rest and agreed we’d answer the occasional email but only if it was urgent, then complete our farm and land acquisition planning closer to the spring. The official start to our new year would be February, and so we sought to focus on our individual goals and ways to incorporate more rest into our daily lives. Rest had become something that felt like a prize we had to earn, and not the natural cycle our bodies relied on.

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Claire wanted to spend more time with her young child and husband through the holidays and I was recovering from a severe hand injury and surgery. This meant that I had many doctor visits, and I would be spending my time in therapy to regain mobility in my dominant hand. We needed time off, and in the absence of work, we had to re-learn our worth. We thought it would be a great time to decide on a direction for next year, and really get back into what it means to show up for ourselves. We spent the final two weeks in October focused on making sure everything was squared away for the winter.

Perhaps we focused a little too hard because I found myself two weeks into November already feeling like I had run out of things to keep me occupied. The goal was to be resting, but I was unable to shake the feeling that I was supposed to be doing something. The injury took a huge emotional toll on me and after the year Fennigan’s Farms had, I needed to detach my sense of worth from my ability to get things done. I needed to slow down and shift my mindset back to liberation by resisting the idea that I needed to be working all of the time.

In the last week or so leading up to this particular day, my days had become the same. I’d get up go for a walk, talk to a friend or two, but I was mostly spending the day obsessing about not doing anything. My friends would call in the evening and ask how my day went, but I was embarrassed to tell them when I’d felt like I had done nothing. I had recently acquired a

disability, but I didn’t know how to slow down or process that, so I dug deeper into my work. I carried a lot of guilt with me because this work is so important to me, but I was tired and in pain. The guilt and physical pain created a dissonance that brought me to a point where I felt like I was reliving the same day over and over again.

Before I could get into my usual routine of guilt that day, my friend called and asked what I was doing. I paused and then gave her the truth. I told her I had plans to do absolutely nothing, but that I felt like I needed to be doing something. I was nervous as I spoke, but she just responded with “good”. I was confused and silent, so she said again, “good, you should be resting”, followed with, “it really is okay to rest, just let yourself rest.” Her words latched to me, and after we hung up I went back to sleep.

I would like to say that my entire mindset shifted from that point on, but it took a little more time to recondition myself to embrace quiet spaces. What that conversation did provide me was a starting point. From it, I was able to give myself permission to let go because she allowed me the space to accept rest as my right.

When I set my intentions toward rest, I am reminded of my ancestors, their longing for rest, and what they were able to create simply by resting. Cultivating community resilience requires positive relationships and that includes the positive relationships we build with ourselves. Being able to support others consistently comes from

being able to show up for yourself when you need it.

Claire and I used this time to examine our personal relationships with rest. The year had gone by so quickly, neither of us took time to decompress or take in the magnitude of the journey we are on. We explored rest in its relation to Black people and the different aspects of these relationships that are reflected in our day-to-day life. Slavery set the tone for work in the United States. The history of labor in this country was founded in the exploitation of Black life, so it is not surprising to me that this system still thrives in this way.

The notion of white supremacy has perpetuated the idea that if you are not working, you are lazy. It is an exhausted trope that ultimately binds us to live lives that are unsustainable. Because of the deep history of Black labor, our livelihoods are not considered as it comes to work. Living within the system as a Black person is emotionally and physically exhausting and this kind of tiredness is generational.

In 2021, we experienced what comes with being worked into the ground, and we committed ourselves to remove that from our lives and the work we are doing with the community. An integral part of creating sustainable centers for community growth is rest and the liberation that comes with letting go of arbitrary guidelines regarding labor.

Resting gives our minds and bodies a sacred space to escape from this world and heal. It is our resistance and our reparations.

We are grateful for the community of Black farmers who understand the importance of maintaining a sense of self and centering rest. It is through them that Claire and I found resources and community to aid in this journey, and by the time we got to the end of the 2nd month, pleasure and rest had become two centered topics in our lives.

By mid-January, honoring these cycles had become more integrated into our routines we started to think about how it could look once the ball started rolling again. Claire and I pulled together a general idea of how we wanted the next season to go. No hard deadlines or selfinflicted time restraints. We had one main goal, which was to buy land, and we would be working toward that. For us, community care had to look different in 2022.

We started by cutting our work week into 4 days. We both picked a different day during the week to center our rest.

Farm work shifts with the season, so we committed to re-drawing lines about what honoring ourselves looks like based on which season we are in.

In order to be ready for the growing season, we needed to get back into applying for grants, picking out seeds and seed starting equipment, and going over farm plans with the budget. I also had to work with an occupational therapist to adjust to farming with a disability.

At the end of our hiatus, we had the honor of accepting the Detroit Food Policy Council's Food Power Award in the category of business. This gave us the push we needed to go into the new season with our mindsets shifted. It became even more clear that the community supports our work, and the best way for us to support the community relies on our ability to listen to what we need, and not participate in perpetuating harmful ideas about labor.

I think back on that day when my friend called me. Some of her words frustrated me because at the time I didn't know what resting really looked like. I felt like I was getting a task with no instructions, but taking the time to figure out what that looked like for me, made all the difference.

When we first introduced ourselves on this platform, we talked about how this work is legacy work. It is through the dreams and hopes of our ancestors that we live today.

The time they had to rest, commune with each other in private sacred spaces, and prepare for the future, allowed those of us living to be here today. When we spend time with ourselves, we create spaces of freedom where we are able to recognize our power. As we get free, it is our duty to free those in the same bondage, and as Black women and Queer folk, our freedom creates a platform for freedom everywhere.

This is the core of our work, and this returning to the center will serve to liberate us and our community. It has been an honor to represent our community in Detroit on this platform for three installments now.

We hope we have done it well. If you are ever near, let's grow something together!

Fennigan's Farms Journal

BLOSSOM I am a food lover and self-taught gardener currently living in San Juan, Puerto Rico. My microfarm, Jaden Lakay (“home garden” in Haitian Creole) provides garden education, organic fresh produce and seedlings. My way of cooking is rooted in memories of my mother’s kitchen and all the vendors in Haiti, mainly women, that worked hard and walked miles to bring food to our door.

SPICY GOAT BRAIN

By Gina Fleurantin @jaden.lakay In Haiti, goat brain is usually eaten as part of goat head soup which is often consumed on weekends. During my childhood in the 90’s, I vividly remember my mother buying “tonbe” (goat head, feet, tripes, and intestines) from her “pratik” , a woman who would offer meat from two goats slaughtered the day before. It didn’t get as fresh as that. Sometimes, the brain would be consumed separately as a snack. Next time you have guests over, serve that brain on toast and explain later. Although this may cause you to lose a few friends.

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Serves: 6 Total time: 30 minutes Prep time: 15 minutes Cook time: 15 minutes Cuisine: Haitian, Southern Course: Appetizer Ingredients 1 brain (goat or lamb) about 1lb 2 cups water 1 medium onion (brown), finely chopped 2 small garlic cloves, finely chopped 2 habanero or scotch bonnet peppers, finely chopped Juice of 1 lime (3/4 for washing solution, ¼ for cooking) ¼ cup vinegar 1 tsp Salt + pepper mix 1 tbsp chopped parsley 1 baguette INSTRUCTIONS How to prepare the brain for cooking: 2 ways 1. Create a washing solution for the brain by mixing 2 cups of water with ¾ lime juice and 1⁄4 cup of vinegar. It is a very tender cut; it can break down if not handled gently. Remove the red veins or any membrane. Remove from water and gently put on a piece of paper towel and dry.

2. Precook the brain: Bring to a boil 2 cups of water then add vinegar and lime juice.

Turn the stove down to medium-low and add the brain. Let cook for 2 minutes.

Turn off the fire and cover. Let sit for 5 minutes. Remove the brain from the water and dry on a few pieces of paper towel. It should look and feel firm under your finger but not too much. If not firm, put it back into hot water for another 1-2 minutes. You should be able to chop the brain into a few pieces.

How to cook the brain 1. Add 1 tbsp of oil in a nonstick sauté pan on medium-high heat and once hot, add the chopped onions and cook for 3 minutes or until soft.

2. Add the chopped garlic and cook for another minute. Add the hot peppers. And cook for 1 minute. Remove the onion pepper mixture from the pan.

3. Turn the heat down to medium and add the brain, salt and pepper mix. Pour the onion pepper mixture on top. Cook for 2 minutes (DO NOT STIR).

4. After 2 minutes, start mixing gently, folding the mixture instead of stirring. Once the brain appears firm, mix a bit more vigorously, at this stage you can break it into smaller pieces, add the remaining lime juice. At this stage, the brain mixture should resemble scrambled eggs. Adjust salt and pepper to taste.

5. Slice the baguette into ½ inch thick slices and toast. Once ready, spread the brain mixture over. Sprinkle a pinch of chopped parsley on each toast. Serve warm.

BABA GHANOUJ

I am a first generation Palestinian, born and raised in Chicago. Around the time I was born, my father opened up a small Middle Eastern grocery store that he called Sahar Grocery & Meat Market, serving the growing SWANA community of Chicago’s Albany Park neighborhood. Growing up as a part of the Palestinian Diaspora with such a strong connection to both community and food, I have discovered the importance of preserving and sharing these dishes. I am so honored to do so with the fiber community!

By Sahar Salameh

@sharas.plate

Growing up as children, we always stuck out our tongues at Baba Ghanouj. We wanted hummus, not slimy eggplant dip! Fast forward to adulthood, and it is now a household favorite. While it is usually served as an appetizer in the West, Baba Ghanouj is traditionally a shared breakfast dish. My mother makes it on weekend mornings and for holiday brunches with fresh, steaming hot pita bread. I prefer to pair it with homemade pita chips, but it can be served with veggies or used as a sandwich spread, too. I hope you enjoy this recipe, from my table to yours!

Serves: 6 Total time: 50 minutes Prep time: 20 minutes Cuisine: Levantine Course: Breakfast or Appetizer Ingredients 3 medium eggplants 1 cup walnuts 5 cloves of garlic 1 large tomato, diced 1 cup of chopped parsley, 1 tbsp for garnish 2 tbsp extra virgin olive oil and tbsp for garnish

Cook time: 30 minutes

1 tsp salt 1 tsp black pepper 1 tbsp pomegranate molasses and 1 tbsp for garnish food processor or mortar and pestle parchment paper

Note: Pomegranate molasses can be substituted with lemon juice Additional garnishes can include paprika or red pepper flakes

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INSTRUCTIONS 1. Preheat oven to 350°F| 175°C. Poke several holes into each eggplant with a fork.

2. On an open flame, carefully roast your eggplant on the stovetop until all sides are charred. You can use kitchen tongs to rotate the eggplants over the flame. This will create the smoky flavor that Baba Ghanouj is known for.

3. Once your eggplants are completely charred, place them on a cookie sheet with parchment paper and bake for 30 minutes, gently turning them over halfway through. Beware of eggplant juices!

4. While the eggplants are baking, mix the 1 cup of walnuts and 5 cloves of garlic in a food processor until finely ground. You can also use a mortar and pestle if a food processor is not available to you.

5. Add the walnut and garlic mixture to a large mixing bowl. Then gently mix in the 1 large chopped tomato, 1 cup of chopped parsley, 1 tsp salt and pepper, 1 tbsp of pomegranate molasses, and 1 tbsp olive oil. Set aside while you prepare the eggplant.

6. Check on the eggplants. If eggplants are still raw in the center after baking, cook for another 10-15 minutes until they are baked through.

7. Once the eggplants are cooked, remove them from the oven and begin peeling the skin. It will come off very easily with a fork.

8. Begin shredding the eggplants with the fork (or two forks!), removing it from its stem in the process.

9. Add the shredded eggplant to the mixing bowl, and fold in until fully engulfed with the flavors.

10. Serve in a large shallow bowl and garnish with pomegranate molasses, olive oil, and parsley.

11. Enjoy with fresh or crisped pita chips!

KREMAS BLE MARIN Serves: 24 Prep Time: 5 minutes Cook Time: 10 minutes Total time: 15 minutes Cuisine: Haïtian, Caribbean Course: Drink

I'm a Herbal Artist, Fiber Crafter, and Eclectic Witch whose motto is “Be Curious, Learn, Make, Share, Repeat!” Proud to be the first generation of her Haitian family to be born in the US, Kim is also a happy Hobbyist who loves spinning, knitting, crocheting, and quilting.

Originally from Brooklyn NY, she now lives in Denver, CO with her partner and their cat Lavender.

By Kim Cherubin @premye

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Inspired by my Haitian heritage, appreciation for Fall and transitional seasons, and love of kitchen-barista mixed drinks of my youth, my Kremas Ble marin is a fun and delicious twist on a favorite holiday drink in the caribbean. Similar to Coquito, Kremas is a coconut and rum based drink that is most similar to Eggnog but Vegan.

I’m using Butterfly Peaflower, originally from Southeast Asia [Vietnam, Malaysia, and Thailand, but it's also found throughout India, China, Central and South America, along with the East and West Indies] for its mesmerizing blue color to signify the other seasonal cultural influence for this drink, Fete Gede, which honors our Beloved Dead.

Dry Ingredients ¼ tsp butterfly peaflower powder ⅓ cup coconut milk powder (omit if using coconut milk) ¼ tsp nutmeg, fresh ground or powdered ¼ tsp cinnamon, fresh ground or powdered 3-6 cardamom pods finely ground [discard shell, only seeds kept] Wet Ingredients 1 tsp vanilla Extract ¼ cup milk of choice, for foaming 1 - 2 oz high proof clear rhum [Rhum Agricole like Clairin Vaval highly suggested] ½ cup fresh boiled water (omit if using coconut milk) 1 tbsp Premye Bleumarin Syrup (or other 2:1 simple syrup) ¼ tsp almond extract [optional, add for Ayicien Authenticity but was omitted in my version] Glassware & Garnish nutmeg + cinnamon, fresh ground or powdered coconut sugar and/or coconut flakes lime, quartered coupe glasses to serve

INSTRUCTIONS 1. In a large pot bring water to a boil.

2. Combine dry ingredients and wet ingredients separately.

3. Slowly whisk dry ingredient and water together.

4. Once you have a smooth consistency, add wet ingredients and thoroughly combine.

5. Let sit for a few hours to chill.

To serve, foam milk using a milk frother.

Pour kremas into a small decorative coupe glass. Top with foam, and sprinkle with remaining dry spice, coconut flakes, coconut sugar, and lime wedge for garnish Notes Double all ingredients as needed for multiples, but use only 3 tbsp coconut milk powder per additional serving so as not to ‘waste’ ingredients. Can use any clear rhum if Clairin isn’t available. Can substitute coconut milk for coconut powder and hot water.

Fete Gede is traditionally a month long observation though the iconic festivals are celebrated on November 1st and 2nd, similar to Dia de los Muertos, and other post-harvest season rituals that help us honor the cycles of life.

This drink is quietly festive with its cool lilac hue, but packs a punch thanks to the high proof artisanal liquor at its heart - Clairin or Rhum Agricole - which is similar but distinct from the rhum usually used in Haïtian Kremas. As an herbal artist I love Clairin Vaval for this recipe because it's a more naturally made/minimally processed herbal fermentation of sugarcane, and the verdant flavor profile will let the subtle peaflower taste blend with the more fragrant spices and mellow but bold coconut milk flavor. I’m using my own blend of DIY Simple Syrup in BleuGrey for its simpatico flavors of Bergamot, Cardamom, and Butterfly Peaflower, but any simple syrup will work. Lastly, swapping Coconut Milk for Creamed Coconut also lightens the drink in flavor and calorie-count as a bonus!

Celebrating seasons with our ancestors has a deep tradition in Haïtian, Caribbean, and other African Diasporic cultures and I hope this version brings you close to both the holiday and your own family spirits [the benevolent ones that bring gifts to parties!]

TERRENCE SILVER Chef Terrence Silver affectionately known as Chef Bounce is a graduate of The Culinary Institute of Virginia. He holds an Associates degree in Culinary and a Bachelor of Science degree in Food Service Management. He mixes his love for southern cuisine with a touch of French culinary flare. He is also a published poet and philanthropist.

Chitterlings

Chitterlings commonly known as “chitlins” are the small intestine of the pig. Chitlins were inexpensive so they were eaten by a lot of lower income families in the south. This made them a staple in southern cuisine. Chitlins can be found today in southern restaurants that range from mom and pop to fine dining.

Serves: 2 Total time: 30 minutes Prep time: 10 minutes Cuisine: American, Southern Course: Main Course

Ingredients 1 ½ lb of pork chitterlings(pre-cooked) ⅓ tsp of salt ⅓ tsp of black pepper ⅓ cup of apple cider vinegar ⅓ cup of hot sauce

INSTRUCTIONS 1. Using a sharp knife,cut chitlins into bite size pieces.

2. Heat a medium nonstick pan on medium heat. Add chitlins to pan.

Add salt, black pepper, apple cider vinegar, and hot sauce. Cook on medium heat, occasionally stirring for twenty minutes until tender.

Page 48

Cook time: 20 minutes

Calf Liver

Calf liver isn’t originally a southern dish but this certain preparation of the dish is famous in the south. This was one of my father’s favorite dishes to eat.

Serves: 2 Total time: 25 minutes Prep time: 10 minutes Cook time: 15 minutes Cuisine: American, Southern Course: Main Course

Ingredients 1 lb calf liver ¾ tsp of salt ⅓ tsp of black pepper ¼ tsp of garlic powder ½ cup of flour ½ cup of canola oil ½ onion, julienned

INSTRUCTIONS 1. Season both sides of liver with salt, pepper, and garlic powder.

2. Cut liver into four-ounce pieces and set aside.

3. In a medium skillet heat canola oil. Dredge liver in flour covering all sides.

4. Shallow pan fry for 3 and ½ minutes on each side until tender.

5. Remove liver from pan and discard oil.

6. Return liver to pan, add onions, and cook on low heat constantly stirring until onions become translucent.

7. Remove from heat slice and serve.

Pig feet much the same as chitterlings became part of the African American diet through enslavement. The slaves were forced to make meals from the parts of the animals that their enslaver threw out. The enslaved made use of every part of the pig for food.

Pig feet

Serves: 2 Total time: 2 hrs 10 mins Prep time: 10 minutes Cook time: 2 hrs Cuisine: American, Southern Course: Main Course INSTRUCTIONS

1. Place pig feet and all seasonings into a large pot.

2. Fill pot with water, cover, place on stove and bring to Ingredients a boil. Reduce heat to medium and cook for 1 ½ to 2 4 medium sized pig feet hours or until fork tender. ½ cup of white vinegar Note ½ cup apple cider vinegar 1. Reduce heat and increase cook time if pot ½ tbsp crushed red pepper continuously boils over.

1 tbsp salt

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Chicken livers which are often paired with chicken gizzards can be found throughout the African American community. As with most of the recipes, livers were another unused part of an animal that enslaved were forced to eat. Other unused parts such as the feet and neck were used in soups and broths.

Serves: 2 Total time: 15 minutes Prep time: 10 minutes Cook time: 5 minutes Cuisine: American, Southern Course: Main Course Ingredients 1 lb chicken livers ⅓ tsp salt ¼ tsp black pepper ¼ tsp garlic powder ¼ tsp onion powder ¼ tsp red pepper flakes 1 cup flour 2 cups canola oil

INSTRUCTIONS 1. Spread chicken livers on cutting board.

Season both sides with salt, pepper, garlic powder, onion powder, and crushed red pepper.

2. Heat canola oil in a medium skillet.

3. Dredge livers with flour and fry in oil and deep fry for five minutes.

4. Drain livers on paper toweled plate and serve.

Chicken Livers

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Diri Djon Djon I' am someone who has always been very in tune with my creative side. Although you can find me making macrame pieces, my first love has always been baking. I hope to see you visit my website and instagram @dk_finetasting to order your next dessert box.

by Djenane Louis-Jean Djondjon is a very distinctive variety of mushroom that grows in Haiti. Aside from the beautiful black color it gives to the rice, Djon djon brings a unique flavor and aroma to the dishes that it is used in.

After being harvested, djondjon is set to be dried for preservation. Diri djondjon is usually made on special occasions because djondjon is considered to be a delicacy and is also expensive.

Page 64 Page 52

Serves: 6 Total time: 55 minutes Prep time: 15 minutes Cook time: 40 minutes Cuisine: Haïtian Course: Main Course Ingredients 1 ½ cup of djon djon 4 cups of water 2 cups of rice (boiled basmati long grain) 2 cups of frozen peas 1 tsp salt 1 cup of can coconut milk( optional) 1 cup diced red bell pepper (optional) 2 tbsp of epis (blend of 4 garlic cloves chopped, 3 scallions chopped) 4 tbsp cooking oil ( olive oil, vegetable or canola oil) 1 bouquet garni (4 sprigs of parsley and 4 sprigs of thyme tied together with kitchen twine) 2 tbsp of butter

Djon djon preparation Option 1: Grind 1 cup of djondjon in a spice grinder or food processor until it gives you a powder consistency.

Option 2: Soak 1 cup of djondjon in 4 cups of hot water for 10 to 15 minutes. Once cool, place it in the blender and blend (utilize the setting in your blender that you use for smoothie) for 2-4 minutes.

Notes Djondjon can be ordered from https://www.konbitdistribution.com/ or any other Haitian grocery store. Pre -made Haitian epis can be found at @KuizinLakay on Instagram or find the recipe on radiclethreads.com/recipes.

INSTRUCTIONS 1. Place a pot on medium heat, and add cooking oil and let heat up for 2 minutes.

2. Add peas, epis, diced bell pepper (if desired), and salt.

3. Stir and add coconut milk (if desired) and let simmer for 2 minutes.

If using OPTION 1 for the djon djon: after letting peas simmer for 2 minutes, add water, powdered djon djon, bouquet garni and butter to the pot, once water starts boiling, rinse and strain the rice prior to adding it to the pot. Once rice is added to the pot, stir, taste for salt and adjust to taste. Allow rice to simmer on high heat until water is completely absorbed. Bring heat down to a lower setting, cover rice and allow to continue cooking for 10-15 minutes. Uncover pot, mix rice and enjoy.

If using OPTION 2 for the djon djon: After letting peas simmer for 2 minutes, add the blended djondjon to the pot along with bouquet garni, and butter. Once water starts boiling, rinse and strain rice before adding to the pot. Once rice is added to the pot, stir, taste for salt and adjust to taste. Allow rice to simmer on high heat until water is completely absorbed. Bring heat down to a lower setting, cover rice and allow to continue cooking for 10-15 minutes. Uncover pot, mix rice and enjoy.

POD Black Folklore Stories Blanket Page 60 Ashlee Elle -The One Spider Square I am inspired by all things DIY, crafty as well as creative, and conjuring fresh as well as unique designs. I utilize an artistic education and set it into forming a creative handmade endeavor online.

Laeia Jackson-Steel Driver Square I am a Radiologist by day and a knit and crochet designer for over 15 years. I enjoy designing classic pieces that bring comfort to life. I get ideas and inspiration for unique details from my friends and family.

Courtney Whitehead-Mirandy Square I am most excited creating crochet garments and accessories that can be colorful, textured, and created with minimal seaming and unique, easy shaping. Every body is beautiful, my designs are size-inclusive, and help one feel confident while showing off one’s skills.

Shenny Goh- Trellis Love Cardigan - Page 71 I learned how to crochet when I was young and have since expanded my skills to other fiber arts. Although crochet is still something I consistently fall back on as it is predictable, yet provides endless possibilities, which led me to designing crochet patterns.

Elisabeth Desamour - Ezili Danto - Page 75 I’m a Haïtian-American crochet designer and the owner of Desamour Designs. I love sharing my culture and heritage in my work.

Tanya Cauren - The Higher The Hat - Page 76 Creating Funky Crochet Hats is my happy place, with yarn, a hook and a thought, I'm off on that magical journey. I hope to help move humanity forward through the pure joy of creating.

Stephan Browne-Blackman - Oshun Shawl - Page 79 No matter how big or small, simple or difficult, I always aim to create something special that you can walk away from having learned something new. It’s not about the journey or the destination, it’s about the lesson.

Smitha Crasta - Karaveera Cardigan - Page 81 I strive to design things that spark joy and are timeless. All my patterns are available in size inclusive range, with optional customisation, detailed instructions and written with beginners in mind.

Meet our Sample makers

I’m Emily, a second-generation, ThaiAmerican living near Washington, DC. Though I learned to knit during elementary school, I didn’t fall in love with fiber crafts until I learned to crochet during graduate school. I started pattern testing and sample making during the pandemic as a way to decompress from my day job as an Infectious Disease research coordinator. I also enjoy cross-stitch, embroidery, and spinning - I want to try it all!

Natasha Stewart @crochaychay_allday Hi all, my name is Natasha & I live outside of Atlanta, Georgia with my husband, three kids, two cats and one dog. I started crocheting around 2010 with the help of YouTube University.

Before I learned how to crochet I didn't think I was a creative person but that has since changed. Early on in my fiber journey I didn't see people that look like me but now I know we in the BBIMP community have been here the whole time I just had to look.

Here's to many more years of growth.

Peace & Blessings

Emily Ansusinha @emilyprocraftinates

Black Folklore Stories Blanket Designers: Steel Driver Square by Laeia Jackson @craftymed, The One Spider Square by Ashlee Elle @thedreamcrochet, Mirandy Square by Courtney Whitehead @creationsbycourtneyllc Dyers: Robin Guy @birchhollowfibers, Adella Colvin @lolabeanyarnco, Shobha Nadarajah @serendipitouswool Sample Maker Emily Ansusinha @emilyprocraftinates

FINISHED MEASUREMENTS

Finished Blanket: 61x49 inches Finished Squares: 12x12 inches

YARN

Birch Hollow Fibers. Worsted weight, 100% Superwash Merino, 100g/218yds. 3 skeins in Tainted Love; 1 skein in Autumn Wheat; 1 skein in Solace At Sea. Lola Bean Yarn Co. Worsted weight, 100% Superwash Merino, 100g/218yds. 4 Skeins in El Bosque.

Serendipitous Wool Co. Worsted weight, 100% Superwash Merino, 100g/218yds. 3 Skeins in Space Walk; 3 Skeins in Moon Lake; 2 Skeins in Cacao

HOOKS

US H (5mm) Crochet hook or size needed to obtain gauge (Steel Driver & Mirandy Squares) US L (8mm) Crochet hook or size needed to obtain gauge (The One Spider Square)

NOTIONS

Yarn Needle, Scissors

GAUGE

16 st x 19 rows = 4” over Single Crochet, blocked (Steel Drive Square) 11 st x 10 rows = 4" over Single Crochet, blocked (The One Spider Square) 17 st x 19 rows = 4" over Single Crochet, blocked (Mirandy Square) 19 st x 18 rows= 4" over Linen Stitch blocked This blanket was created with inpsiration from Black Floklore stories. Use the individual squares to create pillows, rugs, or attach them together to create your own version of this gorgeous piece. The options are limitless.

To make the Black Floklore Stories Blanket you will need 2 Steel Driver, 2 Mirandy, & 2 The One Spider Square along with 14 of the Linen Stitch Square.

Page 60

The One Spider Square

by Ashlee Elle @thedreamcrochet Dyers Birch Hollow Fibers & Serendipitous Wool Co Sample Maker Emily Ansusinha @emilyprocraftinates

YARN

Birch Hollow Fibers. 71 yards in Autumn Wheat.

Serendipitous Wool Co. 60 yards in Space Walk.

For pattern support, contact Ashlee at thedreamcrochetshoppe@gmail.com

This square is inspired by the folklore story of Anansi the spider, where Anansi was changed into a spider due to its mischievous ways. This design boldly exhibits the appearance of a spider as the focus. Also, utilizes the essence as well, for the brilliant rich and bold colors that highlight Africa, for the background of where this story has been brought to Life.

The One Spider Crochet Square is an intermediate crochet piece, worked flat in rows using half double crochet stitches and the intarsia technique, following written instructions or chart. In the chart, the RS rows are read from right to left and WS rows are read from left to right.

Notes: To change color, work last stitch of old color to the last yarn over, work the final yarn over in the new color.

DIRECTIONS

With CC, Ch 32.

Row 1 (RS): With CC, Hdc in 3rd ch from hook, with MC, Hdc in next 3 sts, with CC, Hdc in next 5 sts, with MC, Hdc in next 13 sts, with CC, Hdc in next 5 sts, with MC, Hdc in next 2 sts, with CC, Hdc in next st, turn.

Row 2 (WS): With CC, Ch 2 (does not count as Hdc throughout), Hdc in first st, with MC, Hdc in next 2 sts, with CC, Hdc in next 5 sts, with MC, Hdc in next 13 sts, with CC, Hdc in next 5 sts, with MC, Hdc in next 3 sts, with CC, Hdc in next st, turn.

Row 3: With CC, Ch 2, Hdc in first st, with MC, Hdc in next 3 sts, with CC, Hdc in next

5 sts, with MC, Hdc in next 13 sts, with CC, Hdc in next 5 sts, with MC, Hdc in next 2 sts, with CC, Hdc in next st, turn.

Row 4: With CC, Ch 2, Hdc in first st, with MC, Hdc in next 2 sts, with CC, Hdc in next 4 sts, with MC, Hdc in next 15 sts, with CC, Hdc in next 4 sts, with MC, Hdc in next 3 sts, with CC, Hdc in next st, turn.

Row 5: With CC, Ch 2, Hdc in first st, with MC, Hdc in next 3 sts, with CC, Hdc in next 4 sts, with MC, Hdc in next 15 sts, with CC, Hdc in next 4 sts, with MC, Hdc in next 2 sts, with CC, Hdc in next st, turn.

Row 6: With CC, Ch 2, Hdc in first st, with MC, Hdc in next 2 sts, with CC, Hdc in next 4 sts, with MC, Hdc in next 15 sts, with CC, Hdc in next 4 sts, with MC, Hdc in next 3 sts, with CC, Hdc in next st, turn.

Row 7: With CC, Ch 2, Hdc in first st, with MC, Hdc in next 3 sts, with CC, Hdc in next 4 sts, with MC, Hdc in next 15 sts, with CC, Hdc in next 3 sts, with MC, Hdc in next 3 sts, with CC, Hdc in next st, turn.

Row 8: With CC, Ch 2, Hdc in first st, with MC, Hdc in next 4 sts, with CC, Hdc in next 2 sts, with MC, Hdc in next 15 sts, with CC, Hdc in next 2 sts, with MC, Hdc in next 4 sts, with CC, Hdc in next 2 sts, turn.

Row 9: With CC, Ch 2, Hdc in first 3 sts, with MC, Hdc in next 4 sts, with CC, Hdc in next 2 sts, with MC, Hdc in next 13 sts, with CC, Hdc in next 2 sts, with MC, Hdc in next 4 sts, with CC, Hdc in next 2 sts, turn.

Row 10: With CC, Ch 2, Hdc in first 4 sts, with MC, Hdc in next 3 sts, with CC, Hdc in next st, with MC, Hdc in next 13 sts,

with CC, Hdc in next 2 sts, with MC, Hdc in next 3 sts, with CC, Hdc in next 4 sts, turn.

Row 11: With CC, Ch 2, Hdc in first 6 sts, with MC, Hdc in next st, with CC, Hdc in next 2 sts, with MC, Hdc in next 13 sts, with CC, Hdc in next st, with MC, Hdc in next st, with CC, Hdc in next 6 sts, turn.

Row 12: With MC, Ch 2, Hdc in first 7 sts, with CC, Hdc in next 2 sts, with MC, Hdc in next 11 sts, with CC, Hdc in next 3 sts, with MC, Hdc in next 7 sts, turn.

Row 13: With MC, Ch 2, Hdc in first 7 sts, with CC, Hdc in next 3 sts, with MC, Hdc in next 11 sts, with CC, Hdc in next 2 sts, with MC, Hdc in next 7 sts, turn.

Row 14: With CC, Ch 2, Hdc in first 10 sts, with MC, Hdc in next 9 sts, with CC, Hdc in next 10 sts, with MC, Hdc in next st, turn.

Row 15: With CC, Ch 2, Hdc in first 11 sts, with MC, Hdc in next 9 sts, with CC, Hdc in next 10 sts, turn.

Row 16: With CC, Ch 2, Hdc in first 2 sts, with MC, Hdc in next 7 sts, with CC, Hdc in next 2 sts, with MC, Hdc in next 7 sts, with CC, Hdc in next 3 sts, with MC, Hdc in next 7 sts, with CC, Hdc in next 2 sts, turn.

Row 17: With CC, Ch 2, Hdc in first st, with MC, Hdc in next 8 sts, with CC, Hdc in next 12 sts, with MC, Hdc in next 8 sts, with CC, Hdc in next st, turn.

Row 18: With MC, Ch 2, Hdc in first 3 sts, with CC, Hdc in next 5 sts, with MC, Hdc in next st, with CC, Hdc in next st, with MC, Hdc in next 9 sts, with CC, Hdc in next 2 sts, with MC, Hdc in next st, with CC, Hdc in next 4 sts, with MC, Hdc in next 4 sts, turn.

Row 19: With MC, Ch 2, Hdc in first 2 sts, with CC, Hdc in next 5 sts, with MC, Hdc in next 2 sts, with CC, Hdc in next 2 sts, with MC, Hdc in next 9 sts, with CC, Hdc in next st, with MC, Hdc in next 3 sts, with CC, Hdc

in next 4 sts, with MC, Hdc in next 2 sts, turn.

Row 20: With CC, Ch 2, Hdc in first 5 sts, with MC, Hdc in next 4 sts, with CC, Hdc in next st, with MC, Hdc in next 9 sts, with CC, Hdc in next 2 sts, with MC, Hdc in next 4 sts, with CC, Hdc in next 4 sts, with MC, Hdc in next st, turn.

Row 21: With CC, Ch 2, Hdc in first 4 sts, with MC, Hdc in next 4 sts, with CC, Hdc in next 3 sts, with MC, Hdc in next 9 sts, with CC, Hdc in next 2 sts, with MC, Hdc in next 4 sts, with CC, Hdc in next 4 sts, turn.

Row 22: With CC, Ch 2, Hdc in first 2 sts, with MC, Hdc in next 4 sts, with CC, Hdc in next 5 sts, with MC, Hdc in next 7 sts, with CC, Hdc in next 5 sts, with MC, Hdc in next 4 sts, with CC, Hdc in next 3 sts, turn.

Row 23: With CC, Ch 2, Hdc in first 2 sts, with MC, Hdc in next 4 sts, with CC, Hdc in next 6 sts, with MC, Hdc in next 7 sts, with CC, Hdc in next 6 sts, with MC, Hdc in next 4 sts, with CC, Hdc in next st, turn.

Row 24: With CC, Ch 2, Hdc in first st, with MC, Hdc in next 3 sts, with CC, Hdc in next 7 sts, with MC, Hdc in next 7 sts, with CC, Hdc in next 8 sts, with MC, Hdc in next 3 sts, with CC, Hdc in next st, turn.

Row 25: With CC, Ch 2, Hdc in first st, with MC, Hdc in next 3 sts, with CC, Hdc in next 8 sts, with MC, Hdc in next st, with CC, Hdc in next 5 sts, with MC, Hdc in next st, with CC, Hdc in next 8 sts, with MC, Hdc in next 2 sts, with CC, Hdc in next st, turn.

Row 26: With CC, Ch 2, Hdc in first st, with MC, Hdc in next 2 sts, with CC, Hdc in next 8 sts, with MC, Hdc in next 2 sts, with CC, Hdc in next 3 sts, with MC, Hdc in next 2 sts, with CC, Hdc in next 8 sts, with MC, Hdc in next 3 sts, with CC, Hdc in next st, turn.

Row 27: With CC, Ch 2, Hdc in first st, with MC, Hdc in next 3 sts, with CC, Hdc in next 9 sts, with MC, Hdc in next 2 sts, with CC, Hdc in next st, with MC, Hdc in next 2 sts, with CC, Hdc in next 9 sts, with MC, Hdc in next 2 sts, with CC, Hdc in next st. Fasten off.

Border Rnd 1: With CC, Ch 1, *work 30 SC across to corner, ch 1,** repeat from * to ** 3 more times, join with sl st in first SC. Rnd 2: Ch 1, *30 SC across to Ch-1 sp, (SC, Ch 1, SC) in Ch-1 sp,** repeat from * to ** 3 more times, join with sl st in first SC. Fasten off.

FINISHING Weave in ends. Block lightly to finished measurements.

Mirandy Square

by Courtney Whitehead @creationsbycourtneyllc Dyers Birch Hollow Fibers, Lola Bean Yarn Co & Serendipitous Wool Co Sample Maker Emily Ansusinha @emilyprocraftinates

YARN Birch Hollow Fibers. C1- 36 yards in Autumn Wheat; C4- 42 yards in Solace At Sea Lola Bean Fiber Co. C2- 42 yards in El Bosque Serendipitous Wool Co. MC- 106 yards in Moon Lake; C3- 19 yards in Cocoa

For pattern support, contact Courtney at creationsbycourtneyw@gmail.com

Mirandy is a confident girl determined to capture Brother Wind to do her bidding to win the junior cake walk. This design is an interpretation of how capturing Brother Wind gave Mirandy the confidence to wear yellow and win a cake.

Special Stitches Puff Stitch YO, insert hook in indicated st, YO, pull up a loop (3 loops on hook), [YO, insert hook in same st, YO, pull up a loop] 3 times (9 loops on hook), YO, pull through all loops, Ch 1

The Mirandy Square is an advanced beginner crochet square that is worked flat in rows. This is great practice for crochet colorwork and surface slip stitching.

DIRECTIONS

Notes: Each color, except for El Bosque, is carried along the row to make the color changes. Refer to the Mirandy Crochet Square color chart to assist the order of color changes. The chart is worked flat. Read RS rows (odd numbers) from right to left, and WS rows (even numbers) from left to right.

With MC, Ch 48.

Row 1 (RS): Starting in the 2nd Ch from hook, SC across, turn. 47 SC. Rows 2-3: With MC, Ch 1 (does not count as SC throughout), SC across, turn. 47 SC. Row 4 (WS): With MC, Ch 1, SC in next 23 sts, with C1, SC in next st, with MC, SC in next 23 sts, turn.

Row 5: With MC, Ch 1, SC in next 22 sts, with C1, SC in next 3 sts, with MC, SC in next 22 sts, turn.

Row 6: With MC, Ch 1, SC in next 21 sts, with C1, SC in next 5 sts, with MC, SC in next 21 sts, turn.

Row 7: With MC, Ch 1, SC in next 20 sts, with C1, SC in next 7 sts, with MC, SC in next 20 sts, turn.

Row 8: With MC, Ch 1, SC in next 19 sts, with C1, SC in next 9 sts, with MC, SC in next 19 sts, turn.

Row 9: With MC, Ch 1, SC in next 18 sts, with C1, SC in next 11 sts, with MC, SC in next 18 sts, turn.

Row 10: With MC, Ch 1, SC in next 17 sts, with C1, SC in next 13 sts, with MC, SC in next 17 sts, turn.

Row 11: With MC, Ch 1, SC in next 16 sts, with C1, SC in next 15 sts, with MC, SC in next 16 sts, turn.

Row 12: With MC, Ch 1, SC in next 15 sts, with C1, SC in next 17 sts, with MC, SC in next 15 sts, turn.

Row 13: With MC, Ch 1, SC in next 14 sts, with C1, SC in next 19 sts, with MC, SC in next 14 sts, turn.

Row 14: With MC, Ch 1, SC in next 13 sts, with C1, SC in next 21 sts, with MC, SC in next 13 sts, turn.

Row 15: With MC, Ch 1, SC in next 12 sts, with C1, SC in next 23 sts, with MC, SC in next 12 sts, turn.

Row 16: With MC, Ch 1, SC in next 11 sts, with C1, SC in next 25 sts, with MC, SC in next 11 sts, turn.

Row 17: With MC, SC in next 10 sts, with C1, SC in next 3 sts, with C2, SC in next 21 sts, with C1, SC in next 3 sts, with MC, SC in next 10 sts, turn.

Row 18: With MC, SC in next 9 sts, with C1, SC in next 4 sts, with C3, SC in next 21 sts, with C1, SC in next 4 sts, with MC, SC in next 9 sts, turn.

Row 19: With MC, SC in next 8 sts, with C1, SC in next 5 sts, with C3, SC in next 21 sts, with C1, SC in next 5 sts, with MC, SC in next 8 sts, turn.

Row 20: With MC, SC in next 7 sts, with C1, SC in next 6 sts, with C3, SC in next 21 sts, with C1, SC in next 6 sts, with MC, SC in next 7 sts, turn.

Row 21: With MC, SC in next 6 sts, with C1, SC in next 7 sts, with C3, SC in next 21 sts, with C1, SC in next 7 sts, with MC, SC in next 6 sts, turn.

Row 22: With MC, SC in next 5 sts, with C1, SC in next 8 sts, with C3, SC in next 21 sts, with C1, SC in next 8 sts, with MC, SC in next 5 sts, turn.

Row 23: With MC, SC in next 4 sts, with C1, SC in next 9 sts, with C3, SC in next 21 sts, with C1, SC in next 9 sts, with MC, SC in next 4 sts, turn.

Row 24: With MC, SC in next 3 sts, with C1, SC in next 10 sts, with C3, SC in next 21 sts, with C1, SC in next 10 sts, with MC, SC in next 3 sts, turn.

Row 25: With MC, SC in next 4 sts, with C1, SC in next 9 sts, with C3, SC in next 21 sts, with C1, SC in next 9 sts, with MC, SC in next 4 sts, turn.

Row 26: With MC, SC in next 5 sts, with C1, SC in next 11 sts, with C2, SC in next 15 sts, with C1, SC in next 11 sts, with MC, SC in next 5 sts, turn.

Row 27: With MC, SC in next 6 sts, with C1, SC in next 10 sts, with C3, SC in next 15 sts, with C1, SC in next 10 sts, with MC, SC in next 6 sts, turn.

Row 28: With MC, SC in next 7 sts, with C1, SC in next 9 sts, with C3, SC in next 15 sts, with C1, SC in next 9 sts, with MC, SC in next 7 sts, turn.

Row 29: With MC, SC in next 8 sts, with C1, SC in next 8 sts, with C3, SC in next 15 sts, with C1, SC in next 8 sts, with MC, SC in next 8 sts, turn.

Row 30: With MC, SC in next 9 sts, with C1, SC in next 7 sts, with C3, SC in next 15 sts, with C1, SC in next 7 sts, with MC, SC in next 9 sts, turn.

Row 31: With MC, SC in next 10 sts, with C1, SC in next 6 sts, with C3, SC in next 15 sts, with C1, SC in next 6 sts, with MC, SC in next 10 sts, turn.

Row 32: With MC, SC in next 11 sts, with C1, SC in next 9 sts, with C2, SC in next 7 sts, with C1, SC in next 9 sts, with MC, SC in next 11 sts, turn.

Row 33: With MC, SC in next 12 sts, with C1, SC in next 8 sts, with C3, SC in next 7 sts, with C1, SC in next 8sts, with MC, SC in next 12 sts, turn.

Row 34: With MC, SC in next 13 sts, with C1, SC in next 7 sts, with C3, SC in next 7 sts, with C1, SC in next 7 sts, with MC, SC in next 13 sts, turn.

Row 35: With MC, SC in next 14 sts, with C1, SC in next 6 sts, with C3, SC in next 7 sts, with C1, SC in next 6 sts, with MC, SC in next 14 sts, turn.

Row 36: With MC, SC in next 15 sts, with C1, SC in next 5 sts, with C3, SC in next 7 sts, with C1, SC in next 5 sts, with MC, SC in next 15 sts, turn. FO C3.

Row 37: With MC, Ch 1, SC in next 16 sts, with C1, SC in next15 sts, with MC, SC in next 16 sts, turn.

Row 38: With MC, Ch 1, SC in next 17 sts, with C1, SC in next 13 sts, with MC, SC in next 17 sts, turn.

Row 39: With MC, Ch 1, SC in next 18 sts, with C1, SC in next 11 sts, with MC, SC in next 18 sts, turn.

Row 40: With MC, Ch 1, SC in next 19 sts, with C1, SC in next 9 sts, with MC, SC in next 19 sts, turn.

Row 41: With MC, Ch 1, SC in next 20 sts, with C1, SC in next 7 sts, with MC, SC in next 20 sts, turn.

Row 42: With MC, Ch 1, SC in next 21 sts, with C1, SC in next 5 sts, with MC, SC in next 21sts, turn.

Row 43: With MC, Ch 1, SC in next 22 sts, with C1, SC in next 3 sts, with MC, SC in next 22 sts, turn.

Row 44: With MC, Ch 1, SC in next 23 sts, with C1, SC in next st, with MC, SC in next 23 sts, turn. FO C1.

Rows 45-47: With MC, Ch 1, SC across, turn.

47 SC. Do not fasten off.

Edging Round 1: With MC, *Ch 1, SC in each SC to corner, Ch 1, SC in the side of each st to next corner; rep from * once more, change to C4, sl st in first SC to join. 188 SC, 4 Ch. Round 2: With C4, Ch 1, sc in first st, *[puff st, sk next st] 23 times, puff st in Ch-1 sp of corner; rep from * 3 more times, change to MC, sl st to first puff st to join. FO C3. 96 Puff St, 1 SC. Round 3: With MC, Sl st BLO in each st around, sl st to first sl st to join, FO. 193 Sl st.

FINISHING Surface Slip Stitch Using pictures of the finished square as a guide, with C4, make a slip knot and pull through the center area of the lower left corner, sl st on the surface to create a swirl in the corner, continue the sl st over to the lower right corner, make a second swirl, FO. Repeat over the two upper corners.

Weave in ends, block to size.

Steel Driver Square

by Laeia Jackson @craftymed Dyers Lola Bean Yarn Co & Serendipitous Wool Co Sample Maker Emily Ansusinha @emilyprocraftinates

YARN Lola Bean Fiber Co. MC- 103 yards in El Bosque Serendipitous Wool Co. CC- 52 yards in Cocoa

For pattern support, contact Courtney at creationsbycourtneyw@gmail.com

John Henry is an African-American folk hero who worked on the railroad. A model of pride and the endurance of the human spirit, he died victorious, with a sledgehammer in hand. This design is inspired by that moment of strength and sacrifice.

The Steel driver crochet square is worked bottom up flat using single crochet intarsia colorwork technique to create a reversible fabric. It can be worked from the chart or written instructions.

Notes: There is no Ch 1 at the beginning of each row. Hold working yarn on WS of square when working both RS and WS rows. To change color, work to last yarn over of last stitch, work the final yarn over in the new color.

DIRECTIONS

With MC, Ch 45.

Row 1 (WS): Sc into the 2nd Ch from hook, Sc across, turn. 44 Sc Row 2 (RS): Sc across, turn.

Row 3: Rep Row 2.

Row 4-49 can be worked following Steel Driver chart or written instructions below.

Row 4: With MC, SC in next 22 sts, with CC, SC in next 5 sts, with MC, SC in next 17 sts, turn.

Row 5: With MC, SC in next 16 sts, with CC, SC in next 7 sts, with MC, SC in next 21 sts, turn.

Row 6: With MC, SC in next 20 sts, with CC, SC in next 13 sts, with MC, SC in next 11 sts, turn.

Row 7: With MC, SC in next 8 sts, with CC, SC in next 17 sts, with MC, SC in next 19 sts, turn.

Row 8: With MC, SC in next 18 sts, with CC, SC in next 20 sts, with MC, SC in next 6 sts, turn.

Row 9: With MC, SC in next 5 sts, with CC, SC in next 22 sts, with MC, SC in next 17 sts, turn.

Row 10: With MC, SC in next 16 sts, with CC, SC in next 24 sts, with MC, SC in next 4 sts, turn.

Row 11: With MC, SCc in next 4 sts, with CC, SC in next 25 sts, with MC, SC in next 15 sts, turn.

Row 12: With MC, SC in next 14 sts, with CC, SC in next 27 sts, with MC, SC in next 3 sts, turn.

Row 13: With MC, SC in next 3 sts, with CC, SC in next 27 sts, with MC, SC in next 14 sts, turn.

Row 14: With MC, SC in next 13 sts, with CC, SC in next 29 sts, with MC, SC in next 2 sts, turn.

Row 15: With MC, SC in next 2 sts, with CC, SC in next 30 sts, with MC, SC in next 12 sts, turn.

Row 16: With MC, SC in next 12 sts, with CC, SC in next 30 sts, with MC, SC in next 2 sts, turn.

Row 17: With MC, SC in next 2 sts, with CC, SC in next 31 sts, with MC, SC in next 11 sts, turn.

Row 18: With MC, SC in next 11 sts, with CC, SC in next 12 sts, with MC, SC in next 3 sts, with CC, SC in next 16 sts, with MC, SC in next 2 sts, turn.

Row 19: With MC, SC in next 2 sts, with CC, SC in next 17 sts, with MC, SC in next 3 sts, with CC, SC in next 12 sts, with MC, SC in next 10 sts, turn.

Row 20: With MC, SC in next 10 sts, with CC, SC in next 11 sts, with MC, SC in next 4 sts, with CC, SC in next 17 sts, with MC, SC in next 2 sts, turn.

Row 21: With MC, Cc in next 2 sts, with CC, SC in next 17 sts, with MC, SC in next 5 sts, with CC, SC in next 11 sts, with MC, SC in next 9 sts, turn.

Row 22: With MC, SC in next 9 sts, with CC, SC in next 10 sts, with MC, SC in next 7 sts, with CC, SC in next 15 sts, with MC, SC in next 3 sts, turn.

Row 23: With MC, SC in next 4 sts, with CC, SC in next 13 sts, with MC, SC in next 10 sts, with CC, SC in next 9 sts, with MC, SC in next 4 sts, with CC, SC in next 2 sts, with MC, SC in next 2 sts, turn.

Row 24: With MC, SC in next 2 sts, with CC, SC in next 3 sts, with MC, SC in next 1 sts, with CC, SC in next 10 sts, with MC, SC in next 11 sts, with CC, SC in next 12 sts, with MC, SC in next 5 sts, turn.

Row 25: With MC, SC in next 6 sts, with CC, SC in next 10 sts, with MC, SC in next 13 sts, with CC, SC in next 13 sts, with MC, SC in next 2 sts, turn.

Row 26: With MC, SC in next 3 sts, with CC, SC in next 12 sts, with MC, SC in next 13 sts, with CC, SC in next 9 sts, with MC, SC in next 7 sts, turn.

Row 27: With MC, SC in next 8 sts, with CC, SC in next 6 sts, with MC, SC in next 15 sts, with CC, SC in next 13 sts, with MC, SC in next 2 sts, turn.

Row 28: With MC, SC in next 2 sts, with CC, SC in next 13 sts, with MC, SC in next 29 sts, turn.

Row 29: With MC, SC in next 29 sts, with CC, SC in next 13 sts, with MC, SC in next 2 sts, turn.

Row 30: With MC, SC in next 2 sts, with CC, SC in next 13 sts, with MC, SC in next 29 sts, turn.

Row 31: With MC, SC in next 29 sts, with CC, SC in next 12 sts, with MC, SC in next 3 sts, turn.

Row 32: With MC, SC in next 3 sts, with CC, SC in next 11 sts, with MC, SC in next 30 sts, turn.

Row 33: With MC, SC in next 29 sts, with CC, SC in next 12 sts, with MC, SC in next 3 sts, turn.

Row 34: With MC, SC in next 5 sts, with CC, SC in next 11 sts, with MC, SC in next 28 sts, turn.

Row 35: With MC, SC in next 19 sts, with CC, SC in next 3 sts, with MC, SC in next 5 sts, with CC, SC in next 12 sts, with MC, SC in next 5 sts, turn.

Row 36: With MC, SC in next 7 sts, with CC, SC in next 4 sts, with MC, SC in next 2 sts, with CC, SC in next 5 sts, with MC, SC in next 3 sts, with CC, SC in next 5 sts, with MC, SC in next 18 sts, turn.

Row 37: With MC, SC in next 17 sts, with CC, SC in next 7 sts, with MC, SC in next 1 sts, with CC, SC in next 5 sts, with MC, SC in next 4 sts, with CC, SC in next 3 sts, with MC, SC in next 7 sts, turn.

Row 38: With MC, SC in next 15 sts, with CC, SC in next 13 sts, with MC, SC in next 16 sts, turn.

Row 39: With MC, SC in next 15 sts, with CC, SC in next 13 sts, with MC, SC in next 16 sts, turn.

Row 40: With MC, SC in next 17 sts, with CC, SC in next 12 sts, with MC, SC in next 15 sts, turn.

Row 41: With MC, SC in next 15 sts, with CC, SC in next 13 sts, with MC, SC in next 16 sts, turn.

Row 42: With MC, SC in next 15 sts, with CC, SC in next 13 sts, with MC, SC in next 16 sts, turn.

Row 43: With MC, SC in next 17 sts, with CC, SC in next 13 sts, with MC, SC in next 14 sts, turn.

Row 44: With MC, SC in next 14 sts, with CC, SC in next 12 sts, with MC, SC in next 18 sts, turn.

Row 45: With MC, SC in next 19 sts, with CC, SC in next 11 sts, with MC, SC in next 14 sts, turn.

Row 46: With MC, SC in next 15 sts, with CC, SC in next 9 sts, with MC, SC in next 20 sts, turn.

Row 47: With MC, SC in next 21 sts, with CC, SC in next 7 sts, with MC, SC in next 16 sts, turn.

Row 48: With MC, SC in next 17 sts, with CC, SC in next 5 sts, with MC, SC in next 22 sts, turn.

Row 49: With MC, SC in next 23 sts, with CC, SC in next 3 sts, with MC, SC in next 18 sts, turn.

Rows 50-51: SC across, turn.

Row 52: SC across. Fasten off.

Border Round 1: With MC, Ch 1, *work 44 SC across to corner, ch 1,** repeat from * to ** 3 more times, join with sl st in first SC. Round 2: Ch 1, *44 SC across to Ch-1 sp, (SC, Ch 1, SC) in Ch-1 sp,** repeat from * to ** 3 more times, join with sl st in first SC. Fasten off.

FINISHING Weave in ends. Block to size.

Linen Stitch Square

by Radicle Threads Team @radiclethreads Dyers Birch Hollow Fibers, Lola Bean Yarn Co & Serendipitous Wool Co Sample Maker Emily Ansusinha @emilyprocraftinates

DIRECTIONS

Stitch Pattern (in the round over an even number of sts) Rnd 1: [Ch 1, (SC 1, Ch 1, SC 1, Ch 2) 4 times] in MR, pull tail to close ring, join with a Sl st in first SC of round, turn.

Rnd 2: Ch 1, (SC, Ch 2, SC) in Ch-2 sp, Ch 1, SC in next Ch-1 sp, Ch 1, [(SC, Ch 2, SC) in next Ch-2 sp, Ch 1, SC in next Ch-1 sp, Ch 1] 3x, join with a Sl st in first SC of round, turn.

Rnd 3: Ch 1, *(SC in Ch-1 sp, Ch 1) to next Ch-2 sp, (SC, Ch 2, SC) in Ch-2 sp, Ch 1; repeat from * around, join with a Sl st in first SC of round, turn.

Rnd 4: Ch 1, *(SC in Ch-1 sp, Ch 1)** to next Ch-2 sp, (SC, Ch 2, SC) in Ch-2 sp, Ch 1; repeat from * around, ending last repeat at **, join with a Sl st in first SC of round, turn.

Repeat Round 4 until you have a 12 inch square.

FINISHING Weave in ends, wash and block to size.

YARN Birch Hollow Fibers; Lola Bean Fiber Co.; Serendipitous Wool Co. 148 yards

Trellis Love Cardigan

by Shenny Goh @wobbleblobbe Dyer Lois Teo @parkourkitties

FINISHED MEASUREMENTS

Sizes 1 (2, 3, 4, 5, 6, 7, 8) finished chest circumference 36 (42, 48, 54, 60, 66, 72, 78) inches | 91(107, 122, 138, 152, 168, 183, 198)cm to be worn with 6-10” (15-25cm) positive ease.

YARN

Parkour Kitties. Worsted weight, 100% Superwash Extrafine Merino Wool, 115g/230m/251 yards; MC- 5 (5, 6, 7, 8, 9, 10, 11) skeins in Marine Green , CC- 1 skein in Dark Red

NOTIONS

Yarn Needle, Scissors, Measuring Tape

GAUGE 16 sts and 8 rows = 4”/10cm over Trellis Heart pattern and Lattice pattern after blocking

HOOKS

For pattern support, contact Shenny at wobbleblobbe@gmail.com

US H8 (5.0 mm) Crochet hook or size needed to obtain gauge US G7 (4.5 mm) Crochet hook or one size smaller than gauge hook size

Reminiscent of the patchwork quilts lovingly made by my grandma, this cardigan reimagines its coziness through crochet textures. The heart motifs scattered throughout symbolize the magic of love transmitted in the act of making, from the maker to the receiver.

Trellis love cardigan is an intermediate crochet pattern, worked flat from the bottom up in one piece from hem to armholes. Fronts and back are then worked separately and seamed at the shoulders. Stitches are picked up around the armholes to work the sleeves from the top down in the round. Stitches are picked up along the front edges and back neck to work bands of ribbing.

Page 71

Special Stitches Trellis Heart stitch diagram (12-stitch repeat) This stitch pattern is worked flat.

Read RS rows (even numbers) from right to left, and WS rows (odd numbers) from left to right in the stitch diagram.

Row 1: Ch 2 (does not count as DC throughout), DC in next 3 sts, *DC in next 5 sts, sk 1, switch to CC, 4 DC in the next stitch, sk 1, switch to MC, DC in next 4 sts,** repeat from * to ** until last 4 sts, DC in next 4 sts, turn.

Row 2: Ch 2, DC in next 4 sts, *DC in next 4 sts, 3 SC in between the second and third sts of the 4-DC cluster below, DC in next 5 sts,** repeat from * to ** until last 3 sts, DC in next 3 sts, turn.

Row 3: Ch 2, DC in next 3 sts, *DC in next 3 sts, DC2tog, 2 DC in next st, DC in next st, 2 DC in next st, DC2tog, DC in next 2 sts,** repeat from * to ** until last 4 sts, DC in next 4 sts, turn.

Row 4: Ch 2, DC in next 4 sts, *DC in next st, DC/FPedc2tog, (FPedc, DC) in next st, DC in next 3 sts, (DC, FPedc) in next stitch, FPedc/DC2tog, DC in next 2 sts,** repeat from * to ** until last 3 sts, DC in next 3 sts, turn.

Row 5: Ch 2, DC in next 3 sts, *DC in next st, DC/BPedc2tog, (BPedc, DC) in next st, DC in next 5 sts, (DC, BPedc) in next st, BPedc/DC2tog,** repeat from * to ** until last 4 sts, DC in next 4 sts, turn.

Row 6: Ch 2, DC in next 2 sts, sk 1, *switch to CC, 4 DC in the next st, sk 1, switch to MC, DC in next 9 sts, sk 1,** repeat from * to ** until last 4 sts, switch to CC, 4 DC in the next stitch, sk 1, switch to MC, DC in next 2 sts, turn.

Row 7: Ch 2, DC in next 2 sts, *3-SC in between the second and third sts of the 4DC cluster below, DC in next 9 sts,** repeat from * to ** until last 4-DC cluster and 2 DC remain, 3-SC in between the second and third sts of the 4-DC cluster below, DC in last 2 sts, turn.

Row 8: Ch 2, DC in next 4 sts, *2 DC in next st, DC2tog, DC in next 5 sts, DC2tog, 2 DC in next st, DC in next st,** repeat from * to ** until last 3 sts, DC in next 3 sts, turn.

Row 9: Ch 2, DC in next 3 sts, *DC in next 2 sts, (DC, BPedc) in next st, BPedc/DC2tog, DC in next 3 sts, DC/BPedc2tog, (BPedc, DC) in next st, DC in next st,** repeat from * to ** until last 4 sts, DC in next 4 sts, turn.

Row 10: Ch 2, DC in next 4 sts,*DC in next 2 sts, (DC, FPedc) in next st, FPedc/DC2tog, DC in next st, DC/FPedc2tog, (FPedc, DC) in next st, DC in next 3 sts,** repeat from * to ** until last 3 sts, DC in next 3 sts, turn.

Repeat Rows 1-10 for pattern.

Lattice stitch diagram (12-stitch repeat) This stitch pattern is worked in the round.

Round 0: Ch 2, *DC in next 3 sts, DC2tog, 2 DC in next st, DC in next st, 2 DC in next st, DC2tog, DC in next 2 sts,** repeat from * to ** to end, sl st in first DC to join.

Round 1: Ch 2 (does not count as DC throughout), *DC in next 2 sts, DC/FPedc2tog, (FPedc, DC) in next st, DC in next 3 sts, (DC, FPedc) in next st, FPedc/DC2tog, DC in next st,** repeat from * to ** to end, sl st in first DC to join.

Round 2: Ch 2, *DC, DC/FPedc2tog, (FPedc, DC) in next st, DC in next 5 sts, (DC, FPedc) in next st, FPedc/DC2tog,** repeat from * to ** to end, sl st in first DC to join.

Round 3: Ch 2, *FPedc2tog skipping 1 st in between (See Note below), (FPedc, DC) in next st, DC in next 7 sts, (DC, FPedc) in next stitch,** repeat from * to ** to end, sl st in first FPedc2tog to join.

(Note - The first FPedc2tog is worked over the last st of the previous rnd and the second st, skipping the first st in between.)

Round 4: Ch 3, FPedc in same place as ch 3, *DC2tog, DC in next 7 sts, DC2tog, (FPedc, ch 1, FPedc) in next st,** repeat from * to ** to last 11 sts, DC2tog, DC in next 7 sts, DC2tog, FPedc in same place as beg ch-3, sl st in top of ch 3 to join.

Round 5: Ch 2, *DC in ch-1 space (beg ch-3 in first rep), (DC, FPedc) in next st, FPedc/DC2tog, DC in next 5 sts, DC/FPedc2tog, (FPedc, DC) in next stitch,** repeat from * to ** to end, sl st in first DC to join.

Round 6: Ch 2, *DC in next 2 sts, (DC, FPedc) in next st, FPedc/DC2tog, DC in next 3 sts, DC/FPedc2tog, (FPedc, DC) in next stitch, DC in next st,** repeat from * to ** to end, sl st in first DC to join.

Round 7: Ch 2, *DC in next 3 sts, (DC, FPedc) in next st, FPedc/DC2tog, DC in next st, DC/FPedc2tog, (FPedc, DC) in next stitch, DC in next 2 sts,** repeat from * to ** to end, sl st in first DC to join.

Round 8: Ch 2, *DC in next 4 sts, (DC, FPedc) in next st, FPedc2tog skipping 1 st in between, (FPedc, DC) in next stitch, DC in next 3 sts,** repeat from * to ** to end, sl st in first DC to join.

Round 9: Ch 2, *DC in next 4 sts, DC2tog, (FPedc, ch 1, FPedc) in next st, DC2tog, DC in next 3 sts,** repeat from * to ** to end, sl st in first DC to join.

Round 10: Ch 2, *DC in next 3 sts, DC/FPedc2tog, (FPedc, DC) in next st, DC in ch-1 space, (DC, FPedc) in next stitch, FPedc/DC2tog, DC in next 2 sts**, repeat from * to ** to end, sl st in first DC to join.

DIRECTIONS Bottom ribbing Row 1: Ch 2, Fdc 115, 139 (163, 187, 211) (235, 259, 283), turn.

Row 2: Ch 2 (does not count as DC here and throughout), DC, *BPdc in next 2 sts, DC in next st**, repeat from * to ** across, turn.

Row 3: Ch 2, DC, *FPdc in next 2 sts, DC in next st**, repeat from * to ** across, turn.

Rows 4-7: Repeat Rows 1-2 twice. 115, 139 (163, 187, 211) (235, 259, 283) sts.

Body Switch to larger hook.

Work the Trellis Heart stitch pattern, working repeats within * and ** 9, (11,13, 15, 17, 19, 21, 23) times for a total of 13, (15, 14, 16, 15, 17, 16, 18) rows, or until desired length from underarm.

Right Front Divide for Front and Back Sizes 1 (_, 3, _, 5, _, 7, _) only Next row: Work the Trellis Heart stitch pattern, working repeats within * and ** 1 (_, 2, _, 3, _, 4, _) times, turn. 19 (_, 31, _, 43, _, 55, _) sts.

Sizes _ (2, _, 4, _, 6, _, 8) only Next row: Work as established until _ (1, _, 2, _, 3, _, 4) repeats of the Trellis Heart stitch pattern have been worked, continue the next 6 sts in pattern, followed by: - For Row 1, finish the 4-DC cluster, sk 1, DC in next 2 sts,

- For Row 2, finish the 3-SC in between the second and third sts of the 4-DC cluster below, DC in next 2 sts, - 4 DC if it is an odd row, - 3 DC if it is an even row, turn. _ (25, _, 37, _, 49, _, 61) sts.

Continue in pattern until 14 (14, 17, 17, 20, 20, 23, 23) rows have been worked after the armhole split. 19 (25, 31, 37, 43, 49, 55, 61) sts.

Fasten off and leave a long tail for seaming.

Back Leaving 5 stitches unworked after the Right Front, join yarn on the next stitch.

Continue in pattern, working 5 (6, 7, 8, 9, 10, 11, 12) repeats of the Trellis Heart stitch pattern for a total of 14 (14, 17, 17, 20, 20, 23, 23) rows. 67 (79, 91, 103, 115, 127, 139, 151) sts Left Front Leaving 5 stitches unworked after Back, join yarn on the next stitch. Work same as for Right Front. Fasten off and leave a long tail for seaming.

With a whip stitch, align and sew the front panels to the back panel at the shoulders.

Sleeves With larger hook, beginning at the center of underarm, SC 60 (60, 72, 72, 84, 84, 96, 96) evenly around the armhole, sl st in first SC to join.

Work the Lattice stitch pattern for 5 (5, 6, 6, 7, 7, 8, 8) repeats in each rnd for 27 rnds or until you are 3”/7.5cm away from desired sleeve length. 60, 60 (72, 72, 84) (84, 96, 96) sts.

Work next 3 rows as follows: Round 1: Ch 2, *DC in next 3 sts, switch to CC, sk 1, 4-DC in the next stitch, sk 1, switch to MC**, repeat from * to ** for 10, 10 (12, 12, 14) (14, 16, 16) times, sl st in first DC to join.

Round 2: Ch 2, *DC in next 3 sts, 3-SC in between the second and third sts of the 4DC cluster below**, repeat from * to ** for 10, 10 (12, 12, 14) (14, 16, 16) times, sl st in first DC to join. 60, 60 (72, 72, 84) (84, 96, 96) sts.

Round 3: Ch 2, DC2tog around, sl st in first DC2tog to join. 30, 30 (36, 36, 42) (42, 48, 48) sts.

Repeat the same for the other sleeve.

Sleeve ribbing Round 1: Ch 2, *dc, FPdc in next 2 sts**, repeat from * to ** around, sl st in first DC to join. 30, 30 (36, 36, 42) (42, 48, 48) sts.

Rounds 2-7: Repeat Row 1. 30, 30 (36, 36, 42) (42, 48, 48) sts. Fasten off.

Neck Ribbing Join MC to lower edge of Right Front.

With smaller hook Row 1: Ch 2, DC 139 (148, 157, 163, 172, 181, 187, 196) evenly along the edge of Right Front, Back neck and down the edge of Left Front, turn.

Row 2: Ch 2, DC, *BPdc in next 2 sts, DC in next st**, repeat from * to ** across, turn.

Row 3: Ch 2, DC, *FPdc in next 2 sts, DC in next st**, repeat from * to ** across.

Row 4-5: Repeat Rows 2-3. Fasten off.

FINISHING Weave in ends, wash and block to size.

Ezili Danto

by Elisabeth Desamour @desamourdesigns Dyer Shobha Nadarajah @serendipitouswool Sample Maker Natasha Stewart @crochaychay_allday

FINISHED MEASUREMENTS

XS-S (Shown in photos) 62”/157.5cm wingspan x 19”/48.26cm deep, M-L 65”/165.1 cm wingspan x 21”/53.34cm deep, XL-2XL 70”/177.8cm wingspan x 26”/66.04cm deep

YARN

Serendipitous Wool Co. DK weight, 60% Superwash Merino 20% Yak 20% Silk; 100g/211meters/231yards. MC 2 (3,3) Skeins in Moonlake, CC 1 (1,1) skein in Marigold

NOTIONS

Yarn Needle, Scissors, Optional Broche

GAUGE

17 sts and 10 rows = 4”/10 cm in eHdc

HOOKS

US H8 (5mm) Crochet hook or size needed to obtain gauge For pattern support, contact Elisabeth at desamouravecamourt@gmail.com It has been long shared that the slave revolt of 1791, started with a pact which followed a big feast in honor to Ezili Danto (pronounced eh-zee-lee Dahn-toh) . For this reason it is considered the national lwa. Lwa is the word used to encapsulate the spirits of Voodoo as practiced in Haiti.

Ezili Danto is created using slip stitches, single crochet and extended half double crochet along with increases to create a slanted caplet. It can be worn over your shoulder with a broche to keep it close. Highly recommend a heart or dagger-like broche to pay hommage to the namesake lwa.

Special Stitches: Foundation Single Crochet Make a slip knot and chain 2. Insert the hook in the first chain you made.*YO and draw up a loop. This counts as making the chain part of the foundation single crochet stitch. YO and draw up a loop (2 loops on hook), YO and draw the hook through both loops on your hook. Insert the crochet hook into the chain part of the previous stitch**. Repeat from * to **until you have the stated number of stitches listed in the pattern.

Extended Half Double Crochet (ehdc) YO, insert your hook and pull up a loop (3 loops on hook), YO and pull through one loop, YO and pull through remaining 3 loops.

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DIRECTIONS With MC, Fsc 58, 64, 72.

Row 1: eHdc in first 42 (48, 56) sts, Sc in next 5 sts, Sl st in last 11 sts, turn. 58 (64,72 sts) Row 2: Ch 1, Sl st in each Sl st, Sc in each Sc, eHdc in each eHdc, turn. 42 (48, 56) eHdc, 5 Sc, 11 Sl st Row 3: Repeat row 1 Repeat rows two and three 51(56, 61) more times Increase row: *Ch 1, Sl st in each Sl st, Sc in each Sc, eHdc in each eHdc to last st, 2 eHdc in last eHdc. (43 (49,57) eHdc, 5 Sc, 11 Sl st) Next row: eHdc in each eHdc, Sc in next 5 sts, Sl st in last 11 sts. * Repeat * to* 78 (83, 88) more times. Fasten off.

Border Attach CC Row 1: Sc in each st across the bottom edge of your caplet (this will be the bottom part of the piece where all the eHdc are.)

R2-R5: Repeat row 1.

Fasten off.

FINISHING Weave in ends, wash and block.

Higher the Hat

by Tanya Cauren @yarngonewild_yarncraft Dyer Rosemarie Tinapay @akarayarns

FINISHED MEASUREMENTS

Circumference at crown: 19” Circumference at brim: 26 (28, 34)” Length: 12 ¾” (Body 10 ½” and brim 2 ¼”)

YARN

Akara Yarns Dorset. Aran, 100% Dorset Wool, 100g/167m/183yds. MC 1 Skein in Tsokolate; CC 1 skein in Mansanas

NOTIONS

Yarn Needle, Scissors, Optional: ⅛” elastic, covered brim wire, Crimp, Crimping pliers

GAUGE

10 sts and 6 rnds = 4” in Double Crochet, unblocked

HOOKS

US (7mm) Crochet hook or size needed to obtain gauge Page 76

The Higher The Hat brings all the good fiber arts JuJu to the Head Gear Swag Yard and is a homage to the Sooth Sayers and Griots in our lives. Be it born or led into the spirit, they are ever present and always reaching upward to help light and guide our paths.

The Higher The Hat Pattern is worked top down in the round and includes Back Post double crochet and Back Loop single crochet along with basic stitches.

Instructions include the optional use of wire covered by crochet stitches for a flat brim.

DIRECTIONS Crown With MC, make magic circle.

Round 1: 6 HDC in magic circle, sl st at top of first HDC. 6 sts Round 2: Ch 2, HDC in same place, 2 hdc in each st around, do not join. 12 sts Rnds 3-11 are worked continuously in a spiral.

Round 3: *HDC in next st, 2 HDC in next st.** Repeat from * to ** around. 18 sts Round 4: *HDC in next 2 sts , 2 HDC in next st.** Repeat from * to ** around. 24 sts Round 5: *HDC in next 3 sts, 2 HDC in next st.** Repeat from * to ** around.

30 sts Rnd 6: *HDC in next 4 sts, 2 HDC in next st.** Repeat from * to ** around. 36 sts Rnd 7: *HDC in next 5 sts, 2 HDC in next st.** Repeat from * to ** around. 42 sts Rnd 8: *HDC in next 6 sts, 2 HDC in next st.** Repeat from * to ** around. 48 sts Rnd 9: *HDC in next 7 sts, 2 HDC in next st.** Repeat from * to ** around. 54 sts

Rnd 10: HDC around. 54 sts Rnd 11: HDC around, join with sl st. 54 sts Body Rnd 12: Ch 2[1] [2] [3] , BPdc around, sl st at top of ch 2.

Rnds 13-15: Ch 2, DC around, sl st at top of ch 2.

Rnds 16-17: Ch 2, BPdc around, sl st at top of ch 2.

Fasten off. Join CC. Rnd 18: Ch 1, SC blo around, sl st at top of ch 1.

Rnd 19: Ch 1, SC around, sl st at top of ch 1.

Rnd 20: Ch 1, SC in next st, 2 SC in next st, *SC in next 2 sts, 2 SC in next st.** Repeat from * to ** around, sl st at top of ch 1. 72 sts Rnd 21: Ch 1, SC around, sl st at top of ch 1.

Rnd 22: Ch 1, BPsc around, sl st at top of ch 1.

Fasten off . Join MC. Rnds 23-25: Ch 2, DC around, sl st at top of ch 2. (72) Rnds 26-27: Ch 1, BPsc around, sl st at top of ch 2.

Fasten off. Join CC. Rnd 28: Ch 1, BLsc around, sl st in ch 1.

Rnd 29: Ch 1, SC around, sl st in ch 1.

Size S only Rnd 30: Ch 1, 2 SC in first st, SC in next st, 2 SC in next st, *SC in next 2 sts, 2 SC in next st.** Repeat from * to ** around, sl st in ch 1. 97sts Size M only Rnd 30: Ch 1, SC in first st, 2 SC in next st, *SC in next st, 2 SC in next st.** Repeat from * to ** around, sl st in ch 1. 108 sts Size L only Rnd 30: Ch 1, SC in first st, 2 SC in next 2 sts, *SC in next st, 2 SC in next 2 sts.** Repeat from * to ** around. 120 sts

All sizes Round 31: Ch 1, SC around, sl st in ch 1.

97 (108, 120) sts Round 32: Ch 1, BPsc around, sl st in ch 1.

Fasten off and break yarn. Join MC. Rnd 33: Ch 2, DC around, sl st at top of ch 2.

Sizes S and M only Round 34: Ch 2, DC in first 4 (4) sts, DC2tog around until last 3 (4) sts, DC in last 3 (4) sts, sl st at top of ch 2. 52 (58) sts Size L only Round 34: Ch 2, DC in first st, *DC2tog twice, DC in next st.** Repeat from * to **around until last 4 sts, DC2tog, DC in last 2 sts, sl st at top of ch 2. 73 sts All sizes Round 35: Ch 2, DC around, sl st at top of ch 2. 52 (58, 73) sts Round 36: Ch 1, BPsc around, sl st in ch 1.

Round 37: Ch 1, BPsc around, sl st in ch 1.

Fasten off. Join CC. Brim (All Sizes) Round 38: Ch1, SC blo around, sl st in ch 1. 52 (58, 73) sts Round 39: Ch 1, SC around, sl st in ch 1.

Round 40: Ch 1, SC in first 2 sts, 2 SC in next st, *SC in next 2 sts, 2 SC in next st.** Repeat from * to ** around until last st, SC in last st, sl st in ch 1. 69 (77, 97) sts Round 41: Ch 1, SC around, sl st in ch 1.

Size S only Round 42: Ch 1, SC in first 2 sts, 2 SC in next st, *SC in next 2 sts, 2 SC in next st.** Repeat from * to ** until end, sl st in ch 1. 92 sts.

Size M only Round 42: Ch 1, SC in first 2 sts, *SC in next 2 sts, 2 SC in next st.** Repeat from * to ** until end, sl st in ch 1. 102 sts.

Size L only Round 42: Ch 1, SC in first 2 sts, 2 SC in next st, *SC in next 2 sts, 2 SC in next st.** Repeat from * to ** until last st, SC in last st, sl st in ch 1. 129 sts.

All Sizes Rounds 43: Ch1, SC around, sl st in ch 1. 92 (102, 129) sts Fasten off. Join MC. Rounds 44-45: Ch 1, SC around, sl st in ch 1.

92 (102, 129) sts Round 45 option for wired BRIM crocheted over covered metal or plastic wire Cut wire @ 2” longer than circumference needed, SC over wire. When last 10 sts remain, cut wire to accommodate final length needed. Add and secure crimp to both ends of wire with crimping pliers, complete last 10 sts.

FINISHING Fasten Off. Weave in all ends.

Block if desired and/or steam to relax decrease stitch areas. If tighter fit is desired, weave in 1/8” elastic on wrong side, at body/brim join.

Oshun Shawl

by Stephan Browne-Blackman @stephmadethat Dyer April Tsai @wildewoodfibers

FINISHED MEASUREMENTS

62”/157.5cm wingspan x 32.5”/82.5cm deep

YARN

Wilde Wood Fibers. Lace weight, 74% Baby Suri Alpaca 26% Silk, 50g/300meters/328yard. 3 Skeins in Sunflower

NOTIONS

Yarn Needle, Scissors

GAUGE

17 sts and 27 rows = 4”/10 cm in Mesh Section #3. Gauge is not critical for this project, but please note that a change in gauge may result in different finished measurements and yarn requirements.

HOOKS

US H8 (5mm) Crochet hook or size needed to obtain gauge For pattern support, contact Stephan at stephmadethat@gmail.com Oshun is the river orisha from Yoruba culture, representing water, love, and sensuality.

Oshun’s sweet, powerful waters have embraced this shawl with its fluid-like drape and the mohair lends its softness to inviting sections of lace. This shawl pays homage to the goddess with its color, drape, and design that mimics a beautiful shoreline.

The Oshun Shawl is a right triangle shawl with increases of one stitch every row along one side. It utilizes three different stitches and chain spaces to create five, fading sections.

The beginning chain does not count as a stitch throughout.

DIRECTIONS Body (Solid Section) Row 1(WS): Ch 2, 3 SC into the first st, turn. 3 sts Row 2 (RS): Ch 1, SC in first 2 sts, 2 SC in last st, turn. 4 sts Row 3: Ch 1, 2 SC in first st, SC across, turn. 5 sts Row 4: Ch 1, SC across to last st, 2 SC in last st, turn. 6 sts Rows 5-50: Repeat Rows 3 & 4. 52 sts Mesh Section #1 Row 51 (WS): Ch 1, SC in first st, *ch 1, sk 1 st, SC in next st.** Repeat from * to ** to last st, 2 SC in last st, turn. 53 sts Page 79

Row 52 (RS): Ch 1, 2 SC in first st, SC in each st and ch-1 sp to end, turn. 54 sts Rows 53-100: Repeat Rows 51 & 52. 102 sts Mesh Section #2 Row 101 (WS): Ch 1, SC in first st, *ch 1, sk next st, SC in next st.** Repeat from * to ** to last 3 sts, ch 1, sk next st, SC in last 2 sts, turn. 102 sts Row 102 (RS): Ch 1, 2 SC in first st, SC in next st, *ch 1, sk next ch-1 sp, SC in next st.** Repeat from * to ** to end, turn.

103 sts Row 103: Ch 1, SC in first st, *ch 1, sk next ch-1 sp, SC in the next st.** Repeat from * to ** to last 2 sts, ch 1, sk next st, 2 SC in the last st, turn. 104 sts Rows 104-149: Repeat Rows 102 & 103.

150 sts Row 150: Repeat Row 102. 151 sts Mesh Section #3 Row 151: Ch 2, DC in first st, *ch 1, sk next ch-1 sp, DC in next st.** Repeat from * to ** to last 2 sts, ch 1, sk next st, 2 DC in last st, turn. 152 sts Row 152: Ch 1, 2 SC in first st, SC in next st, *ch 1, sk next ch-1 sp, SC in next st.** Repeat from * to ** to end, turn. 153 sts Rows 153-174: Repeat Rows 151 & 152. 175 sts Mesh Section #4 Row 175: Ch 3, TC in first st, *ch 1, sk next ch-1 sp, TC in next st.** Repeat from * to ** to last 2 sts, ch 1, sk next st, 2 TC in last st, turn. 176 sts Row 176: Ch 1, 2 SC in the first st, SC in next st, *ch 1, sk next ch-1 sp, SC in next st.** Repeat from * to ** to end, turn. 177 sts Rows 177-198: Repeat Rows 175 & 176. 199 sts

Border Row 199: Ch 1, SC in first st, SC in next ch-1 sp, *ch 1, sk next st, SC in next ch-1 sp.** Repeat from * to ** to last 3 sts, ch 1, sk next st, SC in next st, 2SC in last st, turn. 200 sts Row 200: Ch 1, SC in first st, ch 1, SC into next st, * ch 1, sk next st, SC in next ch-1 sp.** Repeat from * to ** to last 2 sts, ch 1, sk next st, SC in last st. 201 sts FINISHING Weave in ends and block to finished measurements.

Karaveera Cardigan

by Smitha Crasta @the_crazyaunt Dyer Carolyn Jones @chickencoopdyeworks

FINISHED MEASUREMENTS

Finished chest - 41.5 (44.75, 48, 51.25, 54.5, 58, 61, 64.25, 67.5)”/105.5 (113.5, 122, 130, 138.5, 147.5, 155, 163, 171.5)cm . Garment is meant to be worn with 6-12”/15-30.5cm of positive ease. Shown in size 48”/122cm.

YARN

Chicken Coop Dye Works. DK weight, 100% Superwash Merino, 115g/227 meters/249 yards MC 2 (2, 2, 2, 3, 3, 3, 4, 4) skeins in Aquamarine; C1 1 (2, 2, 2, 2, 2, 2, 3, 3) skeins in Grape Juice, C2 1 (2, 2, 2, 2, 2, 2, 3, 3) skeins in Mustard, C3 & C4 1 (1, 1, 1, 1, 2, 2, 2, 2) skeins in Teal & Oranges.

NOTIONS

Yarn Needle, Scissors

GAUGE

HOOKS

US D3 (3.25mm) Crochet hook or size needed to obtain gauge

33 sts and 10 rows of pattern = 6”/ 10cm, blocked

For pattern support, contact Smitha at crasta.smitha@gmail.com Oleander or Karaveera in Sanskrit is a poisonous plant with attractive colorful flowers and medicinal value. It can withstand drought, heat and neglect. Human nature is the same; we have both the good and the bad in us, we can withstand anything that life throws at us and still bloom like an oleander in spring.

The fronts and back of this cardigan are worked separately and seamed. Stitches are picked up to work the sleeves in the round. Slip stitches are used for seaming to create a cinched look. Chainless double crochet counts as a double crochet stitch. Change colors by working to the final yarn over, switch to the new color to complete the final yarn over and pull through.

Special Stitches: Chainless Double Crochet (CDC): Pull up lp to DC height. Wrap lp around hook, hold wrap in place around hook with finger and insert into first st, YO, pull back through st, YO, pull through first part of wrap, YO, pull through last part of wrap.

Page 81

DIRECTIONS Back With C1, loosely Ch 114 (123, 132, 141, 150, 159, 168, 177, 186) sts.

Row 1: CDC, DC in next 5 sts, *Ch 5, sk next 3 sts, DC in next 6 sts.** Repeat from * to ** across, turn. 78 (84, 90, 96, 102, 108, 114, 120, 126) DC sts, 12 (13, 14, 15, 16, 17, 18, 19, 20) Ch-5 sps.

Row 2: CDC, Ch 3, * 3 TC, Ch 5, 3 TC in ch-5 sp.** Repeat from * to ** to last ch-5 sp, Ch3, DC in last st, turn. 72 (78, 84, 90, 96, 102, 108, 114, 120) TC sts, 12 (13, 14, 15, 16, 17, 18, 19, 20) Ch-5 sp, 2DC sts, 2 Ch-3 sp.

Row 3: CDC, *Ch 5, 6 DC in ch-5 sp.** Repeat from * to ** last ch-5 sp, Ch 5, DC in last st. 74 (80, 86, 92, 98, 104, 110, 116, 122) DC sts, 13 (14, 15, 16, 17, 18, 19, 20, 21) Ch-5 sp.

Row 4: CDC, Ch 5, 3 TC in first Ch-5 sp, *3 TC, Ch 5, 3 TC in next ch-5 sp.** Repeat from * to ** across, 3 TC in last ch-5 sp, Ch5, DC in last st. 72 (78, 84, 90, 96, 102, 108, 114, 120) TC sts, 13 (14, 15, 16, 17, 18, 19, 20, 21) Ch-5 sp, 2 DC sts.

Row 5: CDC, 5 DC in ch-5 sp, *Ch 5, 6 DC in next ch-5 sp.** Repeat from * to ** across. 78 (84, 90, 96, 102, 108, 114, 120, 126) DC sts, 12 (13, 14, 15, 16, 17, 18, 19, 20) Ch-5 sp.

Row 6-9: With C2, repeat Rows 2-5.

Row 10-13: With C3, repeat Rows 2-5.

Row 14-17: With C4, repeat Rows 2-5.

Row 18-21: With MC, repeat Rows 2-5.

Row 22-25: With C1, repeat Rows 2-5.

Row 26-45: Repeat Rows 6-25.

Sizes 58-67” only Row 46-49: Repeat Rows 2-5 with C2.

Fasten off leaving a long tail.

Front (Make 2) With C1, loosely Ch 51 (60, 60, 69, 69, 78, 78, 87, 87) sts.

Row 1: CDC, DC in next 5 sts, *Ch 5, sk next 3 sts, DC in next 6 sts.** Repeat from * to ** across. 36 (42, 42, 48, 48, 54, 54, 60, 60) DC sts, 5 (6, 6, 7, 7, 8, 8, 9, 9) Ch-5 sp.

Row 2: CDC, Ch3, * 3 TC, Ch 5, 3 TC in ch-5 sp.** Repeat from * to ** to last ch-5 sp, Ch 3, DC in last st. 30 (36, 36, 42, 42, 48, 48, 54, 54) TC sts, 5 (6, 6, 7, 7, 8, 8, 9, 9) Ch5 sp, 2 DC sts, 2 Ch3 sp.

Row 3: CDC, *Ch 5, 6 DC in ch-5 sp.** Repeat from * to ** to last ch-5 sp, Ch 5, DC in last st. 32 (38, 38, 44, 44, 50, 50, 56, 56) DC sts, 6(7, 7, 8, 8, 9, 9, 10, 10) Ch-5 sp.

Row 4: CDC, Ch 5, 3 TC in Ch-5 sp, *3 TC, Ch 5, 3 TC in next ch-5 sp.** Repeat from * to ** across, 3 TC in last ch-5 sp, Ch 5, DC in last st. 30 (36, 36, 42, 42, 48, 48, 54, 54) TC sts, 6(7, 7, 8, 8, 9, 9, 10, 10) Ch-5 sp, 2 DC sts.

Row 5: CDC, 5 DC in ch-5 sp, *Ch 5, 6 DC in next ch-5 sp.** Repeat from * to ** across. 36 (42, 42, 48, 48, 54, 54, 60, 60) DC sts, 5 (6, 6, 7, 7, 8, 8, 9, 9) Ch5 sp.

Row 6-9: With C2, repeat Rows 2-5.

Row 10-13: With C3, repeat Rows 2-5.

Row 14-17: With C4, repeat Rows 2-5.

Row 18-21: With MC, repeat Rows 2-5.

Row 22-25: With C1, repeat Rows 2-5.

Row 26-45: Repeat Rows 6-25.

Sizes 58-67” only Row 46-49: Rep Row 2-5 with C2.

Fasten off leaving a long tail. Seam the shoulders using MC, beginning at the outer edges and leaving the central extra sts of back unworked for neck.

Leaving 9 (9, 12, 12, 12, 15, 15, 18, 18) rows at the top of both front and back for armholes, seam sides on the WS using 3 sl sts per row with MC to create a cinched look.

Sleeves With RS facing, join MC with sl st at the underarm.

Row 1: CDC, 2 DC in same space, *Ch5, sk next sp, 3 DC in next sp, 3 DC in next sp.** Repeat from * to ** across ending with Ch 5, sk next sp, 3 DC in the last sp. Join with sl st into the first st. 36 (36, 48, 48, 48, 60, 60, 72, 72) DC sts, 6(6, 8, 8, 8, 10, 10, 12, 12) Ch-5 sp.

Row 2: CDC, Ch 3, * 3 TC, Ch 5, 3 TC in ch-5 sp.** Repeat from * to ** across. Ch3, join with sl st into first st. 36 (36, 48, 48, 48, 60, 60, 72, 72) TC sts, 6(6, 8, 8, 8, 10, 10, 12, 12) Ch-5 sp, 1 DC st, 2 Ch-3 sp.

Row 3: CDC, *Ch 5, 6 DC in ch-5 sp.** Repeat from * to ** across. Ch 5, join with sl st into first st. 37 (37, 49, 49, 49, 61, 61, 73, 73) DC sts, 7(7, 9, 9, 9, 11, 11, 13, 13) Ch-5 sp.

Row 4: CDC, Ch 5, 3 TC in Ch-5 sp, *3 TC, Ch 5, 3 TC in next ch-5 sp.** Repeat from * to ** across. 3 TC in the last ch-5 sp, Ch 5, join with sl st into first st. 36 (36, 48, 48, 48, 60, 60, 72, 72) TC sts, 7(7, 9, 9, 9, 11, 11, 13, 13) Ch5 sp, 1 DC st.

Row 5: CDC, 5 DC in ch-5 sp, *Ch 5, 6 DC in next ch-5 sp.** Repeat from * to ** across.

Join with sl st into first st. 42 (42, 54, 54, 54, 66, 66, 78, 78) sts, 6(6, 8, 8, 8, 10, 10, 12, 12) Ch5 sp.

Rows 6-9: Repeat Rows 2-5.

Rows 10-12: Repeat Rows 2-4.

Row 13: CDC, 5 DC in ch-5 sp, *DC into each TC st, 6 DC in ch-5 sp.** Repeat from*to** across. Join with sl st into first st. 78 (78, 102, 102, 102, 126, 126, 150, 150) sts.

Fasten off leaving a long tail to weave in.

Repeat for the other sleeve.

FINISHING Weave in ends, wash and block to size.

Page 83

Meet the dyers

Robin Guy- Birch Hollow Fibers. I live in the country with my husband, daughter, and cats. Outside of dyeing and knitting, I love books, tea, gaming, and sitting outside. IG @birchhollowfibers. birchhollowfibers.com Adella Colvin-LolaBean Yarn Co. I am the owner and sole dyer and have been creating luxury hand dyed yarns since 2015. When I first started in the fiber world, I didn’t see a lot of people that looked like me, so I set out on a mission to add more color to an otherwise predominantly white industry. IG @lolabeanyarnco.

Shobha Nadarajah- Serendipitous Wool Co. I am the owner and dyer behind Serendipitous Wool Co. I draw inspiration from our planet and my life experiences. IG @serendipitouswool. serendipitouswool.com Catherine Knutsson-Small Bird Workshop. I’m a registered member of Métis Nation British Columbia. My shop specializes in breed specific, small batch, and Canadian wool. I knit, spin, weave, dye, and take as many photos of sheep as possible. IG @smallbirdworkshop.

Hannah Amartey & Lydia Amartey-Williams-Weku Yarn We are sisters and Weku means family in our fathers native language Ga and we love to intertwine our heritage and the bright colors of West African textiles to create beautiful colourways. IG @wekuyarns. www.wekuyarn.com Eva Szabo-Seismic Yarn. I’m an indie dyer, knitter, occasional sewist and extremely novice spinner. I hand dye yarn on exquisitely soft bases inspired by my life, my kids and the silly stories that punctuate our days. IG @seismicyarn.

Lindsay Vega-Five Borough Yarns LLC. I am an Afro Latina (Puerto Rican) Indie Dyer, born & raised in Brooklyn and currently reside in The Bronx. Five Borough Yarns represents all 5 Boroughs that make up The New York TriState Area. IG & FB & Tik Tok @fiveboroughyarns.

Page 84

Terra Mitchell-Mitchell’s Creations. My colorways and base names are inspired by culture, colors on houses and street art etc we see throughout Louisiana. My goal is to add a little making joy to whoever is using my yarn, one colorful stitch at a time! IG and FB @mitchellscfiberarts. mitchellscreations.com April Tsai-Wildewood Fibers. I live in the lush Pacific Northwest with my parents and exceptionally fluffy collie and Maine Coon, running my dye business while living with chronic illness. I’m inspired by moody romance, whimsy, joy, and my Chinese heritage and culture. IG @wildewoodfibers. wildewoodfibers.com Lois Teo-Parkour Kitties. I'm an indie dyer based in Singapore.

I love creating colourways inspired by nature and anime.

IG and FB @parkourkitties. Parkourkittiesfibers.com

Rosemarie Tinapay-Akara Yarns I mostly dye yarn and recently started dyeing wool fiber and making batts for spinning during the pandemic. I opened up my first Etsy shop in June 2016 and haven't stopped since then. IG @akarayarns FB Akara Yarns. www.akarayarns.com Carolyn "Carol" Jones- Chicken Coop Dyeworks I am a mother, a grandmother, a paralegal and an indie yarn dyer. I have been a crocheter for over 40 years and began knitting over 10 years ago when my first grandchild was born.

IG & FB @chickencoopdyeworks. coopdye.com

Chastity Dunlap- Kitty Pride Fibers. I own Dye Hard Yarns boutique and community dye Studio based in Chicago. I enjoy collaborating with fellow makers, teaching, uplifting those around me, and bringing joy wherever possible. As a Black woman and single mom, it's important to me to be a role model for my young daughter.

IG @Kittypridefibers & @Dyehardyarns_op, FB Dyehardyarns.

Neisha Abdulla - Fanous- Page 92 My background is in Art & Design and I enjoy working with many different mediums to create art. My current design journey is taking me through the Middle East; focusing on the beautifully intricate forms found in Islamic art, architecture, tile/fabric decoration and calligraphy.

Caroline Dick - Juniper Socks- Page 98 I am Tahltan/Irish, I grew up in the unceded territory of the Lkwungen peoples. I am inspired by all aspects of fiber crafting.

Duke Akiba - Kuro Sumi Scarf- Page 101 I am a knitwear designer, originally from Japan and now living in the US. I specialize in Amimoji typography knitting, using my language and cultural symbols.

Sultan Alrasheed - Wigaya Hat & Cowl- Page 102 I’m originally from Saudi Arabia and now live in Chicago. I play with colors and textures finding inspiration in nature, Arabic culture, and Islamic Architecture. My motto is Slow Fiber which is a play on fast fashion and the slow process of dyeing self striping colorways.

Kae Gregis - Igbo Landing Wrap- Page 104 I’m a self-taught knitter, crocheter, and spinner. Numbers are my favorite thing, and my designs are often inspired by geometry and other mathematical concepts.

Tania Dejoie - Ti Pye Zoranj - Page 109 I am a first generation Haitian American from Queens, NY. I work full time as a Veterinarian, and design in my free time. I love trying new techniques and using less common construction styles.

Fanous Wrap

by Neisha Abdulla @neishdesign Dyers Lydia Amartey-Williams & Hannah Amartey @wekuyarn

FINISHED MEASUREMENTS

17 x 76.5 inches / 43 x 195 centimeters

YARN

Weku Yarns. DK weight, 100% Superwash Merino, 100g / 246 yards / 225 meters.

MC 5 skeins in Madder Root; CC 2 skeins in Tagete

NEEDLES

US 4 (3.5mm) and US 5 (3.75mm) circular needle, 60-inch/153cm or sizes needed to obtain gauge.

NOTIONS Yarn Needle, Stitch Markers , Scrap yarn for provisional cast on, Scissors

GAUGE

24 sts and 30 rows = 4” over Stitch Pattern, blocked.

For pattern support, contact Neisha at neisha1@gmail.com

Fanous (Egyptian Arabic) are beautifully decorated lanterns, traditionally used throughout the month of Ramadan. This wrap moves with the form and radiating light of the fanous.

Fanous is a two-color wrap, knit sideways on long circular needles. It calls for a provisional cast on and is finished off with i-cord edging and a two-stitch selvedge at the beginning and end of each row.

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DIRECTIONS Provisional cast on With waste yarn and smaller needle, CO 459 sts. Join MC. Row 1 (RS): K. Row 2 (WS): P. Main Body With larger needle and joining CC, and working all sl sts kwise, refer to Fanous chart or Fanous chart written instructions Row 1 (RS): Sl1wyib, k3, work Fanous Chart to last 2 sts, k2, sl1wyib, p1.

Row 2 (WS): Sl1wyib, p3, work Fanous Chart to last 2 sts, p2, sl1wyif, p1.

Continue until all 128 rows of Fanous chart have been worked. Break CC.

Main Body With larger needle and joining CC, and working all sl sts kwise, refer to Fanous chart or Fanous chart written instructions: Row 1 (RS): Sl1wyib, k3, work Fanous Chart to last 2 sts, k2, sl1wyib, p1.

Row 2 (WS): Sl1wyib, p3, work Fanous Chart to last 2 sts, p2, sl1wyif, p1.

Continue until all 128 rows of Fanous chart have been worked. Fasten off CC. Rows 8–14 two more times. 48 sts.

Written instructions for colorwork only, k the RS rows (odd) and p the WS rows (even).

Row 1: 9MC, 1CC, 8MC, [27MC, 1CC, 8MC] x 9, 1MC. Row 2: 1MC, [8MC, 1CC, 27MC] x 9, 8MC, 1CC, 9MC. Row 3: 8MC, 3CC, 7MC, [26MC, 3CC, 7MC] x 9, 1MC. Row 4: 1MC, [4MC, [1MC, 3CC] x 2, 24MC] x 9, 4MC, [1MC, 3CC] x 2, 6MC. Row 5: 6MC, [1CC, 5MC] x 2, [9MC, 1CC, 14MC, [1CC, 5MC] x 2] x 9, 1MC. Row 6: 1MC, [4MC, [2CC, 5MC] x 2, 4MC, [1MC, 1CC, 1MC] x 3, 9MC, [2CC] x 9, 5MC] x 2.

Row 7: 4MC, 2CC, 7MC, 2CC, 3MC, [8MC, 3CC, 11MC, 2CC, 7MC, 2CC, 3MC] x 9, 1MC. Row 8: 1MC, [2MC, 1CC, [1CC, 4MC] x 2, 2CC, 6MC, [1CC, 3MC, 1CC, 1MC] x 2, 5MC, 1CC, [1CC, 2MC] x 9, 2MC] x 2, 2CC, 3MC. Row 9: 4MC, 2CC, 7MC, 2CC, 3MC, [6MC, [1MC, 2CC] x 2, 10MC, 2CC, 7MC, 2CC, 3MC] x 9, 1MC. Row 10: 1MC, [4MC, [2CC, 5MC] x 2, 1MC, [1CC, 3MC, 1CC] x 3, 6MC, [2CC, 4MC] x 9, 1MC] x 2.

Row 11: 6MC, [1CC, 5MC] x 2, [4MC, 3CC, 5MC, 2CC, [1CC, 3MC] x 2, [2MC, 1CC, 3MC] x 2, 3MC. Row 12: 1MC, [4MC, [1MC, 3CC] x 2, 8MC, 2CC, [1CC, 3MC] x 2, 3CC, 3MC] x 9, 4MC, [1MC, 3CC] x 2, 6MC. Row 13: 8MC, 3CC, 7MC, [2MC, 1CC, [1CC, 3MC] x 3, 2CC, 9MC, 3CC, 7MC] x 9, 1MC. Row 14: 1MC, [8MC, 1CC, 9MC, 2CC, 13MC, 2CC, 1MC] x 9, 8MC, 1CC, 9MC. Row 15: 6MC, [1CC, 2MC] x 3, 3MC, [1CC, [1CC, 3MC] x 4, 2CC, 4MC, [1MC, 1CC, 1MC] x 3, 5MC. Row 16: 1MC, [8MC, 1CC, 8MC, 2CC, 4MC, [1MC, 1CC, 2MC] x 2, 3MC, 2CC] x 9, 8MC, 1CC, 9MC. Row 17: 6MC, [1MC, 1CC] x 3, 6MC, [1CC, 1MC, [1MC, 1CC] x 2, 6MC, [1MC, 1CC] x 2, 2MC, 1CC, 6MC, [1CC, 1MC] x 3, 5MC] x 9, 1MC. Row 18: 1MC, [8MC, [1CC, 8MC] x 3, 1CC] x 9, 8MC, 1CC, 9MC. Row 19: 6MC, [1MC, 1CC] x 3, 6MC, [[1CC, 1MC] x 3, 2MC, 3CC, [3MC, 1CC, 1MC, 1CC, 1MC, 1CC, 3MC] x 2, 4MC. Row 20: 1MC, [8MC, 1CC, 8MC, 1CC, 4MC, [1MC, 3CC] x 2, 5MC, 1CC] x 9, 8MC, 1CC, 9MC. Row 21: 6MC, [1CC, 2MC] x 3, 3MC, [[1CC, 1MC] x 2, [2MC, 1CC, 3MC] x 2, [1CC, 1MC] x 2, 4MC, [1CC, 2MC] x 3, 4MC. Row 22: 1MC, [7MC, 3CC, 7MC, 1CC, 4MC, 2CC, 5MC, 2CC, 4MC, 1CC] x 9, 7MC, 3CC, 8MC. Row 23: 4MC, [1CC, 3MC, 1CC, 1MC] x 2, 2MC, [1CC, 3MC, 2CC, 7MC, 1CC, [1CC, 3MC] x 3, [1CC, 1MC] x 2, 2MC, 1CC, 4MC.

Row 24: 1MC, [6MC, [2CC, 1MC] x 2, 5MC, 1CC, 2MC, 1CC, [1CC, 4MC] x 2, 2CC, 2MC, 1CC] x 9, 6MC, [2CC, 1MC] x 2, 6MC. Row 25: 2MC, [1CC, 3MC, 1CC] x 3, 1MC, [1CC, 3MC, 2CC, 7MC, 2CC, 2MC, [1MC, 1CC] x 2, [3MC, 2CC] x 2, 3MC, 1CC, 1MC] x 9, 1MC. Row 26: 1MC, [[3MC, 3CC, 2MC] x 2, 1MC, 1CC, 4MC, 2CC, 5MC, 2CC, 4MC, 1CC] x 9, [3MC, 3CC, 2MC] x 2, 2MC. Row 27: 3MC, 2CC, [1CC, 3MC] x 2, 3CC, 2MC, [[1CC, 1MC] x 2, [2MC, 1CC, 3MC] x 2, [1CC, 1MC] x 2, 1MC, 2CC, [1CC, 3MC] x 2, 3CC, 3MC. Row 28: 1MC, [1MC, 1CC, [1CC, 3MC] x 3, 1CC, [1CC, 1MC] x 2, 4MC, [3CC, 1MC] x 2, 4MC, 1CC, 1MC, 1CC, [1CC, 1MC] x 9, 2MC] x 3, 2CC, 2MC. Row 29: 1MC, 2CC, 13MC, 2CC, [[1CC, 1MC] x 3, 2MC, 3CC, 2MC, [1MC, 1CC] x 3, 2CC, 13MC, 2CC] x 9, 1MC. Row 30: 1CC, [[1CC, 3MC] x 4, 1CC, [1CC, 8MC] x 2, 1CC, [1CC, 3MC] x 4, 2CC. Row 31: 2CC, 4MC, [1MC, 1CC, 2MC] x 2, 3MC, 1CC, [1CC, 1MC, [1MC, 1CC] x 2, 6MC, [1MC, 1CC] x 2, 2MC, 2CC, 4MC, [1MC, 1CC, 2MC] x 2, 3MC, 1CC] x 9, 1CC. Row 32: 1CC, [1MC, [1MC, 1CC] x 2, 6MC, [1MC, 1CC] x 2, 2MC, 2CC, 4MC, [1MC, 1CC, 2MC] x 2, 3MC, 2CC] x 9, 1MC, [1MC, 1CC] x 2, 6MC, [1MC, 1CC] x 2, 2MC, 1CC. Row 33: [1CC, 8MC] x 2, [1CC, [1CC, 3MC] x 4, 1CC, [1CC, 8MC] x 2, 1CC. Row 34: 1CC, [[1MC, 1CC] x 2, 3MC, 3CC, 2MC, [1MC, 1CC] x 3, 2CC, 13MC, 3CC] x 9, [1MC, 1CC] x 2, 3MC, 3CC, 2MC, [1MC, 1CC] x 3.

Row 35: 1CC, 4MC, [1MC, 3CC] x 2, 5MC, [1CC, 1MC, 1CC, [1CC, 3MC] x 3, 1CC, [1CC, 1MC] x 2, 4MC, [3CC, 1MC] x 2, 4MC, 1CC. Row 36: 1CC, [[1MC, 1CC, 2MC] x 2, [3MC, 1CC] x 2, 1MC, 1CC, 2MC, 2CC, [1CC, 3MC] x 2, 3CC, 2MC, 1CC, [1MC, 1CC, 2MC] x 2] x 9, [3MC, 1CC] x 2, 1MC, 1CC. Row 37: 1CC, 4MC, 2CC, 5MC, 2CC, 4MC, [1CC, [3MC, 3CC, 2MC] x 2, 1MC, 1CC, 4MC, 2CC, 5MC, 2CC, 4MC] x 9, 1CC. Row 38: 1CC, [3MC, 2CC, 7MC, 2CC, 2MC, [1MC, 1CC] x 2, [3MC, 2CC] x 2, 2MC, [1MC, 1CC] x 2, 2MC] x 9, 1MC, 2CC, 7MC, 2CC, 3MC, 1CC. Row 39: 1CC, 2MC, 1CC, [1CC, 4MC] x 2, 2CC, 2MC, [1CC, 6MC, [2CC, 1MC] x 2, 5MC, 1CC, 2MC, 1CC, [1CC, 4MC] x 2, 2CC, 2MC] x 9, 1CC. Row 40: 1CC, [3MC, 2CC, 7MC, 1CC, [1CC, 3MC] x 3, [1CC, 1MC] x 2, 2MC, 1CC, 3MC, 1CC, 2MC] x 9, 1MC, 2CC, 7MC, 2CC, 3MC, 1CC. Row 41: 1CC, 4MC, 2CC, 5MC, 2CC, 4MC, [1CC, 4MC, [1MC, 1CC] x 2, 1CC, [1CC, 1MC] x 2, 4MC, 1CC, 4MC, 2CC, 5MC, 2CC, 4MC] x 9, 1CC. Row 42: 1CC, [[1MC, 1CC, 2MC] x 2, [3MC, 1CC] x 2, [1MC, 1CC, 7MC] x 2, 1MC, 1CC, [1MC, 1CC, 2MC] x 2, [1MC] x 9, 2MC, 1CC] x 2, 1MC, 1CC. Row 43: 1CC, 4MC, [1MC, 3CC] x 2, 5MC, [1CC, 6MC, [1CC, 1MC] x 3, 5MC, 1CC, 4MC, [1MC, 3CC] x 2, 5MC] x 9, 1CC. Row 44: 1CC, [[1MC, 1CC] x 2, 3MC, 3CC, 2MC, [1MC, 1CC] x 3, 8MC, 1CC, 8MC, 1CC] x 9, [1MC, 1CC] x 2, 3MC, 3CC, 2MC, [1MC, 1CC] x 3.

Row 45: [1CC, 8MC] x 2, [[1CC, 8MC] x 4] x 9, 1CC. Row 46: 1CC, [1MC, [1MC, 1CC] x 2, 6MC, [1MC, 1CC] x 2, 2MC, 1CC, 6MC, [1CC, 1MC] x 3, 5MC, 1CC] x 9, 1MC, [1MC, 1CC] x 2, 6MC, [1MC, 1CC] x 2, 2MC, 1CC. Row 47: 2CC, 4MC, [1MC, 1CC, 2MC] x 2, 3MC, 1CC, [[1CC, 8MC] x 2, 2CC, 4MC, [1MC, 1CC, 2MC] x 2, 3MC, 2CC. Row 48: 1MC, [[1CC, 3MC] x 5, 6MC, 1CC, 9MC] x 9, [1CC, 3MC] x 4, 1CC, 1MC. Row 49: 1MC, 2CC, 13MC, 2CC, [6MC, [1MC, 1CC] x 3, 7MC, 2CC, 13MC, 2CC] x 9, 1MC. Row 50: 1MC, [1MC, 1CC, [1CC, 3MC] x 3, 2CC, 10MC, 1CC, 9MC] x 9, 1MC, 1CC, [1CC, 3MC] x 3, 2CC, 2MC. Row 51: 1CC, 2MC, 2CC, [1CC, 3MC] x 2, 3CC, 2MC, [1CC, 7MC, 3CC, 7MC, 1CC, 2MC, 2CC, [1CC, 3MC] x 2, 3CC, 2MC] x 9, 1CC. Row 52: 1MC, [[3MC, 3CC, 2MC] x 2, 6MC, [1MC, 3CC] x 2, 6MC, [3MC, 1CC] x 9, 2CC, 2MC] x 2, 2MC. Row 53: 2MC, [1CC, 3MC, 1CC] x 3, 1MC, [6MC, [1CC, 5MC] x 2, 2MC, [1CC, 3MC, 1CC] x 3, 2MC. Row 54: 1MC, [6MC, [2CC, 1MC] x 2, 10MC, [2CC, 5MC] x 2, 6MC, [1CC] x 9, 1CC, 1MC] x 2, 6MC. Row 55: 4MC, [1CC, 3MC, 1CC, 1MC] x 2, 2MC, [4MC, [2CC, 7MC] x 2, [1CC, 3MC, 1CC, 1MC] x 2, 3MC. Row 56: 1MC, [7MC, 3CC, 10MC, 1CC, [1CC, 4MC] x 2, 2CC, 3MC] x 9, 7MC, 3CC, 8MC. Row 57: 6MC, [1CC, 2MC] x 3, 3MC, [4MC, [2CC, 7MC] x 2, [2MC, 1CC] x 3, 6MC.

Row 58: 1MC, [8MC, 1CC, 12MC, [1MC, 2CC, 4MC] x 2, 1MC] x 9, 8MC, 1CC, 9MC. Row 59: 6MC, [1MC, 1CC] x 3, 6MC, [6MC, [1CC, 5MC] x 2, 6MC, [1MC, 1CC] x 3, 6MC] x 9, 1MC. Row 60: 1MC, [22MC, [1MC, 3CC] x 2, 6MC] x 9, 18MC. Row 61: 8MC, [1CC, 1MC] x 2, 6MC, [8MC, 3CC, 14MC, [1MC, 1CC] x 2, 7MC] x 9, 1MC. Row 62: 1MC, [26MC, 1CC, 9MC] x 9, 18MC. Row 63: 9MC, 1CC, 8MC, [9MC, 1CC, 17MC, 1CC, 8MC] x 9, 1MC. Row 64: MC all.

Row 65: MC all.

Row 66: 1MC, [8MC, 1CC, 17MC, 1CC, 9MC] x 9, 8MC, 1CC, 9MC. Row 67: 18MC, [9MC, 1CC, 26MC] x 9, 1MC. Row 68: 1MC, [6MC, [1MC, 1CC] x 2, 15MC, 3CC, 8MC] x 9, 6MC, [1MC, 1CC] x 2, 8MC. Row 69: 18MC, [6MC, [3CC, 1MC] x 2, 22MC] x 9, 1MC. Row 70: 1MC, [6MC, [1CC, 1MC] x 3, 10MC, [1MC, 1CC, 4MC] x 2, 8MC] x 9, [1CC, 1MC] x 3, 6MC. Row 71: 9MC, 1CC, 8MC, [4MC, [1MC, 2CC, 4MC] x 2, 9MC, 1CC, 8MC] x 9, 1MC. Row 72: 1MC, [4MC, [1MC, 1CC, 1MC] x 3, 8MC, 2CC, 7MC, 2CC, 4MC] x 9, 4MC, [1MC, 1CC, 1MC] x 3, 5MC. Row 73: 8MC, 3CC, 7MC, [3MC, 1CC, [1CC, 4MC] x 2, 2CC, 10MC, 3CC, 7MC] x 9, 1MC. Row 74: 1MC, [[3MC, 1CC] x 2, [1MC, 1CC, 2MC] x 2, 5MC, 2CC, 7MC, 2CC, 4MC] x 9, [3MC, 1CC] x 2, [1MC, 1CC, 2MC] x 2, 2MC.

Row 75: 6MC, [1MC, 2CC] x 2, 6MC, [4MC, [1MC, 2CC, 4MC] x 2, 6MC, [1MC, 2CC] x 2, 7MC. Row 76: 1MC, [1MC, [1CC, 3MC, 1CC] x 3, 6MC, [1MC, 1CC, 4MC] x 2, 3MC, [1CC, 3MC, 1CC] x 3] x 9, 2MC. Row 77: 4MC, 3CC, 5MC, 3CC, 3MC, [6MC, [3CC, 1MC] x 2, 8MC, 3CC, 5MC, 3CC, 3MC] x 9, 1MC. Row 78: 1CC, [2MC, 2CC, [1CC, 3MC] x 2, 2CC, [1CC, 2MC] x 2, 5MC, 3CC, 7MC, 1CC] x 9, 2MC, 2CC, [1CC, 3MC] x 2, 3CC, 2MC, 1CC. Row 79: 2MC, 1CC, [1CC, 3MC] x 3, 2CC, 1MC, [9MC, 1CC, 10MC, 1CC, [1CC, 3MC] x 3, 2CC, 1MC] x 9, 1MC. Row 80: 1MC, [2CC, 13MC, 2CC, 6MC, [1MC, 1CC] x 3, 7MC] x 9, 2CC, 13MC, 2CC, 1MC. Row 81: [1MC, 1CC, 2MC] x 4, 1MC, 1CC, [9MC, 1CC, 8MC, [1MC, 1CC, 2MC] x 4, 1MC, 1CC] x 9, 1MC. Row 82: 1CC, [1CC, 4MC, [1MC, 1CC, 2MC] x 2, 3MC, 1CC, [1CC, 8MC] x 2, 2CC, 4MC, [1MC, 1CC, 2MC] x 2] x 9, 3MC, 2CC. Row 83: 1CC, 1MC, [1MC, 1CC] x 2, 6MC, [1MC, 1CC] x 2, 2MC, [1CC, 6MC, [1CC, 1MC] x 3, 4MC, [1MC, 1CC, 1MC] x 2, 1CC, 6MC, [1MC, 1CC] x 2, 2MC, 1CC Row 84: 1CC, [8MC, [1CC, 8MC] x 3, 1CC] x 9, 8MC, 1CC, 8MC, 1CC. Row 85: [1CC, 1MC] x 3, 2MC, 3CC, 2MC, [1MC, 1CC] x 2, 1MC, [1CC, 1MC, [7MC] x 2, [1CC, 1MC] x 3, 2MC, 3CC, 2MC, [1MC, 1CC] x 2, 1MC, 1CC. Row 86: 1CC, [4MC, [1MC, 3CC] x 2, 5MC, 1CC, 6MC, [1CC, 1MC] x 3, 5MC, 1CC] x 9, 4MC, [1MC, 3CC] x 2, 5MC, 1CC.

Row 87: [1CC, 1MC] x 2, [2MC, 1CC, 3MC] x 2, 1CC, 1MC, [[1CC, 8MC] x 2, [1CC, 1MC] x 2, [2MC, 1CC, 3MC] x 2, 1CC, 1MC, 1CC. Row 88: 1CC, [4MC, 2CC, 5MC, 1CC, [1CC, 4MC] x 2, [1MC, 1CC] x 2, 1CC, [1CC, 1MC] x 2, 4MC, 1CC, 2MC] x 9, 2MC, 2CC, 5MC, 2CC, 4MC, 1CC. Row 89: 1CC, 3MC, 2CC, 7MC, 2CC, 3MC, [[1CC, 3MC] x 2, [1CC, 1MC] x 2, [2MC, 1CC, 1MC] x 2, 2MC, 2CC, 7MC, 2CC, 3MC] x 9, 1CC. Row 90: 1CC, [2MC, 1CC, [1CC, 4MC] x 2, 1CC, [1CC, 2MC] x 2, 4MC, [2CC, 1MC] x 2, 5MC, 1CC, 2MC, 1CC] x 9, [1CC, 4MC] x 2, 2CC, 2MC, 1CC. Row 91: 1CC, 3MC, 2CC, 7MC, 2CC, 3MC, [[1CC, 1MC] x 2, [2MC, 2CC, 1MC] x 2, 1MC, [1MC, 1CC] x 2, 3MC, 2CC, 7MC, 2CC, 3MC] x 9, 1CC. Row 92: 1CC, [4MC, 2CC, 5MC, 2CC, 4MC, 1CC, [3MC, 3CC, 2MC] x 2, 1MC, 1CC] x 9, 4MC, 2CC, 5MC, 2CC, 4MC, 1CC. Row 93: [1CC, 1MC] x 2, [2MC, 1CC, 3MC] x 2, 1CC, 1MC, [1CC, 2MC, 2CC, [1CC, 3MC] x 2, 3CC, 1MC, [1MC, 1CC] x 2, [3MC, 1CC, 2MC] x 2, 1MC, 1CC, 1MC, 1CC. Row 94: 1CC, [4MC, [1MC, 3CC] x 2, 4MC, [1MC, 1CC] x 2, [1CC, 3MC] x 3, 2CC, 1MC, 1CC, 4MC, [1MC, 3CC] x 2] x 9, 5MC, 1CC. Row 95: [1CC, 1MC] x 3, 2MC, 3CC, 2MC, [1MC, 1CC] x 2, 1MC, 2CC, [1CC, 13MC, 2CC, [1CC, 1MC] x 3, 2MC, 3CC, 2MC, [1MC, 1CC] x 2, 1MC, 1CC. Row 96: 1CC, [8MC, 1CC, 8MC, 1CC, [1CC, 3MC] x 4, 2CC] x 9, 8MC, 1CC, 8MC, 1CC.

Row 97: 1CC, 1MC, [1MC, 1CC] x 2, 6MC, [1MC, 1CC] x 2, 2MC, [2CC, 4MC, [1MC, 1CC, 2MC] x 2, 3MC, 2CC, 1MC, [1MC, 1CC] x 2, 6MC, [1MC, 1CC] x 2, 2MC, 1CC. Row 98: 1CC, [1CC, 4MC, [1MC, 1CC, 2MC] x 2, 3MC, 2CC, 1MC, [1MC, 1CC] x 2, 6MC, [1MC, 1CC] x 2, 2MC, 2CC, 1MC] x 9, 3MC, [1MC, 1CC, 2MC] x 2, 3MC, 2CC. Row 99: 1CC, [1CC, 3MC] x 4, 1CC, [[1CC, 8MC] x 2, 1CC, [1CC, 3MC] x 4, 2CC. Row 100: 1MC, [2CC, 13MC, 2CC, [1CC, 1MC] x 3, 2MC, 3CC, 2MC, [1MC, 1CC] x 3, 2CC, 2MC] x 9, 11MC, 2CC, 1MC. Row 101: 2MC, 1CC, [1CC, 3MC] x 3, 2CC, 1MC, [1CC, 4MC, [1MC, 3CC] x 2, 4MC, [1MC, 1CC] x 2, [1CC, 3MC] x 3, 2CC, 2MC. Row 102: 1MC, [2MC, 2CC, [1CC, 3MC] x 2, 3CC, 1MC, [1MC, 1CC] x 2, [3MC, 1CC, 2MC] x 2, [1MC, 1CC] x 2, 2MC, 2CC, [1CC, 3MC] x 2] x 9, 3CC, 3MC. Row 103: 4MC, 3CC, 5MC, 3CC, 3MC, [1CC, 4MC, 2CC, 5MC, 2CC, 4MC, 1CC, [3MC, 3CC, 2MC] x 2, 1MC] x 9, 1MC. Row 104: 1MC, [1MC, [1CC, 3MC, 1CC] x 3, 1MC, 1CC, 3MC, 2CC, 7MC, 2CC, 3MC, 1CC] x 9, 1MC, [1CC, 3MC, 1CC] x 3, 2MC. Row 105: 6MC, [1MC, 2CC] x 2, 6MC, [1CC, 2MC, 1CC, [1CC, 4MC] x 2, 1CC, [1CC, 2MC] x 2, 4MC, [2CC, 1MC] x 2, 6MC. Row 106: 1MC, [[3MC, 1CC] x 2, [1MC, 1CC, 2MC] x 3, 1MC, 2CC, 7MC, 2CC, 3MC, 1CC] x 9, [3MC, 1CC] x 2, [1MC, 1CC, 2MC] x 2, 2MC. Row 107: 8MC, 3CC, 7MC, [1CC, 4MC, 2CC, 5MC, 1CC, [1CC, 4MC] x 2, 3MC, 3CC, 7MC] x 9, 1MC.

Row 108: 1MC, [4MC, [1MC, 1CC, 1MC] x 3, 4MC, [1CC, 1MC] x 2, [2MC, 1CC, 3MC] x 2, 1CC, 1MC, 1CC, 4MC, [1MC, 1CC] x 9, 1MC] x 3, 5MC. Row 109: 9MC, 1CC, 8MC, [1CC, 4MC, [1MC, 3CC] x 2, 4MC, [1MC, 1CC, 7MC] x 2, 2MC. Row 110: 1MC, [6MC, [1CC, 1MC] x 3, 4MC, [1MC, 1CC] x 3, 3MC, 3CC, 2MC, [1MC, 1CC] x 3, 4MC] x 9, 2MC, [1CC, 1MC] x 3, 6MC. Row 111: 9MC, 1CC, 8MC, [[1CC, 8MC] x 4] x 9, 1MC. Row 112: 1MC, [6MC, [1CC, 1MC] x 3, 4MC, [1MC, 1CC, 1MC] x 2, 1CC, 6MC, [1MC, 1CC] x 2, 2MC, 1CC, 2MC] x 9, 4MC, [1CC, 1MC] x 3, 6MC. Row 113: 9MC, 1CC, 8MC, [2CC, 4MC, [1MC, 1CC, 2MC] x 2, 3MC, 1CC, [1CC, 8MC] x 2, 1MC. Row 114: 1MC, [4MC, [1MC, 1CC, 1MC] x 3, 4MC, 1CC, [1CC, 3MC] x 4, 2CC, 4MC, [1MC, 1CC, 1MC] x 3, 5MC] x 9.

Row 115: 9MC, 1CC, 8MC, [1MC, 2CC, 13MC, 2CC, 9MC, 1CC, 8MC] x 9, 1MC. Row 116: 1MC, [7MC, 3CC, 9MC, 1CC, [1CC, 3MC] x 3, 2CC, 2MC] x 9, 7MC, 3CC, 8MC. Row 117: 6MC, [3CC, 1MC] x 2, 4MC, [3MC, 2CC, [1CC, 3MC] x 2, 3CC, 8MC, [3CC, 1MC] x 2, 4MC] x 9, 1MC. Row 118: 1MC, [4MC, [1MC, 1CC, 4MC] x 2, 1MC, 1CC, [3MC, 3CC, 2MC] x 2, 6MC, [1MC, 1CC, 2MC] x 9, 2MC] x 2, 2MC. Row 119: 4MC, [1MC, 2CC, 4MC] x 2, [2MC, [1CC, 3MC, 1CC] x 3, 6MC, 2CC, 5MC, 2CC, 4MC] x 9, 1MC. Row 120: 1MC, [[3MC, 2CC, 4MC] x 2, 6MC, [2CC, 1MC] x 2, 6MC, [3MC] x 9, 2CC, 4MC] x 2.

Row 121: 3MC, 1CC, [1CC, 4MC] x 2, 2CC, 2MC, [4MC, [1CC, 3MC, 1CC, 1MC] x 2, 5MC, 1CC, [1CC, 4MC] x 2, 2CC, 3MC. Row 122: 1MC, [[3MC, 2CC, 4MC] x 2, 7MC, 3CC, 8MC] x 9, [3MC, 2CC, 4MC] x 2.

Row 123: 4MC, [1MC, 2CC, 4MC] x 2, [6MC, [1CC, 2MC] x 3, 8MC, 2CC, 5MC, 2CC, 4MC] x 9, 1MC. Row 124: 1MC, [4MC, [1MC, 1CC, 4MC] x 2, 10MC, 1CC, 9MC] x 9, 4MC, [1MC, 1CC, 4MC] x 2, 2MC. Row 125: 6MC, [3CC, 1MC] x 2, 4MC, [24MC, [3CC, 1MC] x 2, 4MC] x 9, 1MC. Row 126: 1MC, [7MC, 3CC, 26MC] x 9, 7MC, 3CC, 8MC. Row 127: 9MC, 1CC, 8MC, [27MC, 1CC, 8MC] x 9, 1MC. Row 128: 1MC, [8MC, 1CC, 27MC] x 9, 8MC, 1CC, 9MC. I-cord BO With smaller needle and MC Row 1 (RS): K. Row 2 (WS): P. Row 3: CO 3 sts using backwards loop CO: *k2, k2tog, sl 3 sts to LH needle, rep from * to last 3 sts, k2tog, k1, sl 2 sts to LH needle, k2tog, fasten off .

I-Cord BO from provisional CO Carefully pl sts from provisional CO onto smaller needle, removing waste yarn.

With RS facing, join MC and rep row 3 as for I-cord BO above.

FINISHING Weave in ends, wash and block to measurements.

Juniper Socks

by Caroline Dick @cdickdesigns Dyer Catherine Knutsson @smallbirdworkshop

FINISHED MEASUREMENTS

Sizes 1, 2, (3, 4, 5). To fit foot circumference 6, 7, (8, 9, 10) inches / 15.2, 17.8 (20.3, 22.9, 25.4) centimeters. Sample shown in size 8

YARN

The Small Bird Workshop. Fingering weight, 80% Superwash merino 20% Hemp; 100 grams /435 yards / 398 meters. 1 Skein in Rooster.

NOTIONS

Yarn Needle, Scissors

NEEDLES

US 1 (2.25 mm) DPNs, 6-inch/15 cm or size needed to obtain gauge

GAUGE

32 sts and 44 rnds = Stockinette/Reverse Stokinette

4”

For pattern support, contact Caroline at cdickdesigns@gmail.com

over

Juniper is a coniferous tree found throughout the world. It has many traditional uses and is frequently used as sacred medicine in Ceremony. The Juniper socks are knit top down with heel flap construction and feature a single stitch cable on the shaft of the sock.

Special Stitches and Techniques 1/1 LPT: sl1 onto cn, hold in front, p1, ktbl from cn.

1/1 RPT: sl1 onto cn, hold in back, ktbl, p1 from cn.

S2KP2: sl 2 sts as if to knit 2 together, k1, pass 2 sl sts over; centered double decrease (2 sts dec).

DIRECTIONS Cuff With US 1 (2.25mm) needles and MC, CO 48, 56 (64, 72, 80) sts. Pm for BOR and join for working in the round, being careful not to twist.

Round 1: *Ktbl, p1, rep from * to BORM. Rep rnd 1 for 14, 16 (16, 18,18) rnds total.

Leg Work 27 rows of Juniper Chart.

Rep rows 28-31 of Juniper st pattern three, four (four, four, five) times total.

Rep row 32 three, four (four, four, five) times total.

Work rows 33 and 34 once.

Sizes 2, 4 only: Rm, p6, pm. This is your new BORM. Rearrange your sts so there are 14, 18 sts on each needle again.

Heel flap (worked flat over 2 dpns) Turn work so you are now working WS. Row 1 (WS): Sl1, p23, 27 (31, 35, 39), turn.

Row 2 (RS): *Sl1, k1, rep from * to BORM, turn.

Repeat rows 1 and 2 a total of 12, 14 (16, 18, 20) times.

Turn Heel Row 3: Sl1, p14, 16 (18, 20, 22), p2tog, p1, turn.

Row 4: Sl1, k7, k2tog, k1, turn.

Row 5: Sl1, p to 1 st before gap created by previous turn, close gap with p2tog, p1, turn.

Row 6: Sl1, k to 1 st before gap created by previous turn, close gap with k2tog, k1, turn.

Cont closing gaps until all heel flap sts are worked, don't turn after last closing.

RS facing, 16, 18 (20, 22, 24) sts for heel.

Gusset (worked in the round) Set up round: PU and k 14, 16 (17, 19, 20) sts along the LH side of heel flap.

Sizes 1, 3, 5: *P3, ktbl, p4 rep from * across top of foot.

Sizes 2, 4: P2, *P3, ktbl, p4 rep from * to last 2 sts over the top of foot, p2.

PU and k 14 (16, 17, 19) 20 sts along the RH side of heel flap.

K 8, 9 (10,11,12) and pm in the centre of heel turn for BOR. 68, 78 (86, 96, 104) sts.

Starting at the BOR and going clockwise needles will now be needles 1, 2, 3, and 4.

Redistribute sts as follows: Needle 1: 22 (25, 27, 30) 32 sts.

Needle 2: 12 (14, 16, 18) 20 sts.

Needle 3: 12 (14, 16, 18) 20 sts.

Needle 4: 22 (25, 27, 30) 32 sts.

Round 1: (2 sts dec) Needle 1: K to last 3 sts, k2tog, k1.

Needles 2 and 3: cont Juniper st pattern as established.

Needle 4: K1, ssk, k to end.

Round 2 Needle 1: K all sts.

Needles 2 and 3: cont Juniper st pattern as established..

Needle 4: K all sts.

Repeat rnds 1 and 2 eight, ten (eleven, twelve, twelve) times total, until 48, 56 (64, 72, 80) sts remain.

Foot Rnd 1: Needle 1: K all sts.

Needle 2 and 3: Cont. in pattern.

Needle 4: K all sts.

Rep until 1.75 (2, 2, 2.25) 2.25” / 4.5 (5, 5, 5.5) 5.5cm from end of foot.

Toe Redistribute sts over DPNs so there are 12, 14 (16, 18, 20) sts on each needle.

Starting at BOR and going clockwise needles will now be needles 1, 2, 3, and 4.

Round 1: Needle 1: K to last 3 sts, k2tog, k1.

Needle 2: K1, ssk, k to end.

Needle 3: K to last 3 sts, k2tog, k1.

Needle 4: K1, ssk, k to end.

Round 2: K all sts.

Rep last 2 rnds until 16, 20 (24, 28, 32) sts remain. 4, 5 (6, 7, 8) sts on each needle. K all sts on needle 1.

FINISHING Break yarn, graft toe, weave in ends, block.

Kuro Sumi Scarf

FINISHED MEASUREMENTS

74.5 inches / 190 centimeters (excludes fringe) by 6 inches / 15 centimeters wide

by Duke Akiba @nikkoduke Dyer Eva Szabo @seismicyarn

YARN

Seismic Yarn & Dyeworks. Worsted weight, 100% Superwash Extra Fine Merino, 100g / 218 yards / 199 meters.

MC- 2 Skeins in Fogust, C1- 2 skeins in Dark…Dark…Like My Soul.

NOTIONS

Yarn Needle, Stitch Markers , Scissors, Crochet hook (H-8 5.00mm or larger) for fringe, CD jewel case or small book

NEEDLES

US 5 (3.75mm) needles for working flat or size needed to obtain gauge

GAUGE

16 sts and 18 rows = 4 inches /10 centimeters square in double knitting colorwork, blocked.

For pattern support, contact Duke at dukeofnikko@gmail.com

Kuro Sumi Scarf represents ying and yang The scarf is knit in 2-color double of the universe using inspirations from knitting, making it reversible with Japanese kanji characters of Black ( mirrored images in inverted colors.

Kuro) and Ink ( - Sumi). One half of the Twisted selvedge edges provide a clean scarf (Kuro) illustrates a typical kaidan finish and prevent undesired holes.

(Japanese ghost story) scene: a moon, black Optional fringes at the narrow ends add crows, and a willow tree, while the other fluidity and movement. half (Sumi) illustrates abstract elements of the cosmic world.

Special Stitches Double Knitting In double knitting, a knit stitch is always followed by a purl stitch of the contrasting color. Carry strands of both colors to the back of the work when you knit, and to the front of the work when you purl.

墨

黒

Page 101

DIRECTIONS Body Using both color yarns, and Italian cast on, CO 24 double-knit pairs. 48 sts on needle.

If desired place m 2 sts in from each edge to indicate selvedge.

Rows 1-335: Work from charts, remembering to twist yarns at the beginning of each row and to slip the last 2 sts at the end of each row. RS rows are odd and read right to left, and WS rows are even, read left to right. The WS will show a mirrored image of the RS in inverted colors. Refer to the Finished View diagram for the facing and reverse side appearances.

Fasten off both yarns leaving long tails for sewn bind off. BO all sts.

Fringes (make 12 in each color) (optional) Using remaining yarn, you may add fringe to each narrow end of the scarf.

Sample shows alternating color A and color B fringe at the Kuro edge and half color A and color B fringe at the Sumi edge.

Step 1: Wrap yarn 4 times around CD jewel case or small book. Break yarn.

Step 2: Cut one end of the wrapped loops, creating 4 equal strands, 10-14” long.

Step 3: Insert a crochet hook into the edge of the scarf. Fold 4 strands in half and pull loops you have just created through the scarf.

Step 4: Draw ends of the strands through the pulled loops to secure.

Repeat Steps 1-4 for each fringe. Trim yarn ends.

FINISHING Weave in ends, wash and block to measurements.

Wigaya Beanie & Cowl

by Sultan Alrasheed @sultandyes Dyer Chastity Dunlap @kittypridefibers

FINISHED MEASUREMENTS

Hat in five Adult sizes A, B (C, D, E) To fit head circumference 18, 20 (21, 23, 25) inches | 45, 51 (53, 58, 63) centimeters Brim circumference 17.5, 19.5 (20, 22, 24) inches | 44.5, 49.5 (51, 56, 61) centimeters Cowl in two Adult sizes F (G) Width 24 (28.5) inches | 61 (72) centimeters Height 9.5 inches | 24 centimeters

YARN

Kitty Pride Fibers. Fingering weight, 75% Superwash Merino 25% Nylon, 100g / 463yards / 420 meters) 100g/400yd/365m. MC- 1 skein in Leviathan; CC- 1 skein in Riches and Gold

NOTIONS

Yarn needle, 6 Stitch markers including one unique marker for BoR

NEEDLES

US 1 (2.25mm) circular needle or DPNs, 16-inch/ cm or size needed to obtain gauge US 3 ( 3.25mm) DPNs, 6-inch/15 cm or size needed to obtain gauge The Wigaya hat and cowl are inspired by ancient Babylonian protection talismans, some of which are still being used by Sufi mystics and other Arabs. Islamic architectural elements embellish and frame the talisman on both the hat and the cowl.

With two skeins, adventurous colorwork beginners can make the hat and the cowl.

Both are knit from the bottom-up in the round, using 2 colors, and instructions are given for multiple adult sizes.

HAT DIRECTIONS Ribbing With US 1 (2.25mm) needles, using a stretchy CO and MC, CO 124, 136 (140, 155, 170) sts. Place m for BoR and join for working in the rnd, being careful not to twist.

Round 1: *K2, 2 (2, 3, 3), p2, rep from * to BoRm. Work rnd 1 for 1.5 inches, 4 cm.

Hat body Switch to US 3 (3.25mm) needles Colorwork set up round: *K 31, 34 (35, 31, 34) sts, pm, rep from * to BoRm. Join CC and work chart A, B (C, A, B) four, four (four, five, five) times around.

Cont until all 78, 83 (83, 78, 83) chart rounds are worked. Fasten off.

GAUGE

28 sts and 40 rows = 4” over colorwork, blocked, refer to Swatch Chart For pattern support, contact Sultan Alrasheed at alwansultanyarn@gmail.com

Swatch Knit the small swatch chart in the round to become comfortable using the stranded through the back technique. Once knit, cut these carried strands and secure at either end of your swatch (2 rows together) to create a fringe. The swatch can be used as part of your altar, as a coaster for your tea or as a mat for gemstone jewelry, which also holds protective properties.

Hat crown Pull yarn through the last sts and weave in ends, soak and block laying the hat flat.

COWL DIRECTIONS Ribbing With US 1 (2.25mm) needles, using a stretchy CO and MC, CO 168 (210) sts.

Place m for BoR and join for working in the rnd, being careful not to twist.

Round 1: *K2, p2, rep from * to BoRm. Work rnd 1 for 1 inch / 2.5 cm.

Cowl body Switch to US 3 (3.25mm) needles.

Colorwork set up Rnd: *K 42 sts, PM rep from * to BoRM. Join CC and work Cowl chart four (five) times around. Cont until all 71 chart rnds are worked. fasten off CC.

Page 103

Top ribbing With US 1 (2.25mm) needles and MC, Rnd 1: *K2, p2, rep from * to BoRm. Work rnd 1 for 1 inch / 2.5 cm.

BO using a stretchy BO, fasten off.

Igbo Landing Wrap

by Kae Gregis @kgregis Dyer Terra Mitchell @mitchellscfiberarts

FINISHING Weave in ends, soak and block laying the cowl flat.

FINISHED MEASUREMENTS

Trapezoidal wrap, one size. Length 28 inches / 71 centimeters Widest point: 58 inches / 147 centimeters wide Narrowest point: 32 inches / 82 centimeters at the top edge

YARN

Mitchell’s Creations . DK, 100% Superwash Merino, 100g / 231 yards / 211 meters; 2 Skeins in Bliss

NOTIONS

Yarn Needle, Scissors

NEEDLES

US 5 (3.75mm) circular needle, 40inch/100 cm or size needed to obtain gauge

GAUGE

24 sts and 32 rows = 4 inches / 10 centimeters over Stockinette Stitch, blocked.

For pattern support, contact Kae at Kae@goosefire.org Page 104

A Gullah folktale tells of Igbo people arriving on shore at St. Simons Island, Georgia in 1803. Rather than face slavery, they chose to walk into the water. Their high chief led them onto the sea, singing "The Water Spirit brought us, the Water Spirit will take us home.”

The Igbo Landing Wrap is worked from the bottom up, with decreases only occurring in the knitted lace section. The lace edging represents the boats that brought people to the Americas, the knitted lace represents waves on the water, and the cable panel represents the path taken to return home.

Special Stitches 2 over 2 left crossing cable (2x2 LC): Sl 2 sts to cn, hold to back, k2, k2 from cn.

2 over 2 right crossing cable (2x2 RC): Sl 2 sts to cn, hold to front, k2, k2 from cn.

Centered double decrease (CDD): Sl 2 sts as if to work a k2tog, k1, pass the 2 sl sts over.

1 over 1 left purl cross (1x1 LPC): Sl 1 st to cn, hold to front, p1, k1tbl from cn.

1 over 1 right purl cross (1x1 RPC): Sl 1 st to cn, hold to back, k1tbl, p1 from cn.

DIRECTIONS Boat Cable Chart written instructions (worked flat over 6 sts and 16 rows) Row 1 (RS): P1, k3tbl, p2.

Row 2 (WS): K2, p3tbl, k1.

Row 3: 1x1 RPC, k1tbl, 1x1 LPC, p1.

Rows 4, 6, 8, and 10: K1, p1tbl, k3, p1tbl.

Rows 5, 7, and 9: K1tbl, yo, CDD, yo, k1tbl, p1.

Row 11: 1x1 LPC, k1tbl, 1x1 RPC, p1.

Row 12: K2, p3tbl, k1.

Row 13: P2, k1tbl, p3.

Rows 14 and 16: P6.

Row 15: K6.

Walking Cable chart written instructions (worked flat over 9 sts and 16 rows) Row 1, 3, 7 (RS): K4, p2, k2, p1.

Rows 2, 4, 6, 8 (WS): K1, p2, k2, p4.

Row 5: 2x2 LC, p2, k2, p1.

Rows 9, 11, 15: P1, k2, p2, k4.

Rows 10, 12, 14, 16: P4, k2, p2, k1.

Row 13: P1, k2, p2, 2x2 RC Water chart written instructions: (worked flat) Row 1 (RS): Yo, k13, k2tog, k14 (29 sts).

Row 2 (WS: P14, k2tog, p12, yo, p1.

Row 3: K2, yo, k11, k2tog, k14.

Row 4: P14, k2tog, p10, yo, p3.

Row 5: K4, yo, k9, k2tog, k14.

Row 6: P14, k2tog, p8, yo, p5.

Row 7: K6, yo, k7, k2tog, k14.

Row 8: P14, k2tog, p6, yo, p7.

Row 9: K8, yo, k5, k2tog, k14.

Row 10: P14, k2tog, p4, yo, p9.

Row 11: K10, yo, k3, k2tog, k14.

Row 12: P14, k2tog, p2, yo, p11.

Row 13: K12, yo, k, k2tog, k14.

Row 14: P14, k2tog, p13 (28 sts).

Row 15: K13, ssk, k13, yo.

Row 16: P1, yo, p12, ssk, p13.

Row 17: K13, ssk, k11, yo, k2.

Row 18: P3, yo, p10, ssk, p13.

Row 19: K13, ssk, k9, yo, k4.

Row 20: P5, yo, p8, ssk, p13.

Row 21: K13, ssk, k7, yo, k6.

Row 22: P7, yo, p6, ssk, p13.

Row 23: K13, ssk, k5, yo, k8.

Row 24: P9, yo, p4, ssk, p13.

Row 25: K13, ssk, k3, yo, k10.

Row 26: P11, yo, p2, ssk, p13.

Row 27: K13, ssk, k, yo, k12.

Row 28: P13, ssk, p13 (27 sts).

Row 29: Yo, k12, k2tog, k13.

Row 30: P13, k2tog, p11, yo, p1.

Row 31: K2, yo, k10, k2tog, k13.

Row 32: P13, k2tog, p9, yo, p3.

Row 33: K4, yo, k8, k2tog, k13.

Row 34: P13, k2tog, p7, yo, p5.

Row 35: K6, yo, k6, k2tog, k13.

Row 36: P13, k2tog, p5, yo, p7.

Row 37: K8, yo, k4, k2tog, k13.

Row 38: P13, k2tog, p3, yo, p9.

Row 39: K10, yo, k2, k2tog, k13.

Row 40: P13, k2tog, p, yo, p11.

Row 41: K12, k2tog, k13 (26 sts).

Row 42: Yo, p12, ssk, p12.

Row 43: K12, ssk, k11, yo, k.

Row 44: P2, yo, p10, ssk, p12.

Row 45: K12, ssk, k9, yo, k3.

Row 46: P4, yo, p8, ssk, p12.

Row 47: K12, ssk, k7, yo, k5.

Row 48: P6, yo, p6, ssk, p12.

Row 49: K12, ssk, k5, yo, k7.

Row 50: P8, yo, p4, ssk, p12.

Row 51: K12, ssk, k3, yo, k9.

Row 52: P10, yo, p2, ssk, p12.

Row 53: K12, ssk, k, yo, k11.

Row 54: P12, ssk, p12 (25 sts).

Row 55: Yo, k11, k2tog, k12.

Row 56: P12, k2tog, p10, yo, p1.

Row 57: K2, yo, k9, k2tog, k12.

Row 58: P12, k2tog, p8, yo, p3.

Row 59: K4, yo, k7, k2tog, k12.

Row 60: P12, k2tog, p6, yo, p5.

Row 61: K6, yo, k5, k2tog, k12.

Row 62: P12, k2tog, p4, yo, p7.

Row 63: K8, yo, k3, k2tog, k12.

Row 64: P12, k2tog, p2, yo, p9.

Row 65: K10, yo, k, k2tog, k12.

Row 66: P12, k2tog, p11 (24 sts).

Row 67: K11, ssk, k11, yo.

Row 68: P1, yo, p10, ssk, p11.

Row 69: K11, ssk, k9, yo, k2.

Row 70: P3, yo, p8, ssk, p11.

Row 71: K11, ssk, k7, yo, k4.

Row 72: P5, yo, p6, ssk, p11.

Row 73: K11, ssk, k5, yo, k6.

Row 74: P7, yo, p4, ssk, p11.

Row 75: K11, ssk, k3, yo, k8.

Row 76: P9, yo, p2, ssk, p11.

Row 77: K11, ssk, k, yo, k10.

Row 78: P11, ssk, p11 (23 sts).

Row 79: Yo, k10, k2tog, k11.

Row 80: P11, k2tog, p9, yo, p1.

Row 81: K2, yo, k8, k2tog, k11.

Row 82: P11, k2tog, p7, yo, p3.

Row 83: K4, yo, k6, k2tog, k11.

Row 84: P11, k2tog, p5, yo, p5.

Row 85: K6, yo, k4, k2tog, k11.

Row 86: P11, k2tog, p3, yo, p7.

Row 87: K8, yo, k2, k2tog, k11.

Row 88: P11, k2tog, p1, yo, p9.

Row 89: K10, k2tog, k11 (22 sts).

Row 90: Yo, p10, ssk, p10.

Row 91: K10, ssk, k9, yo, k1.

Row 92: P2, yo, p8, ssk, p10.

Row 93: K10, ssk, k7, yo, k3.

Row 94: P4, yo, p6, ssk, p10.

Row 95: K10, ssk, k5, yo, k5.

Row 96: P6, yo, p4, ssk, p10.

Row 97: K10, ssk, k3, yo, k7.

Row 98: P8, yo, p2, ssk, p10.

Row 99: K10, ssk, k, yo, k9.

Row 100: P10, ssk, p10 (21 sts).

Row 101: Yo, k9, k2tog, k10.

Row 102: P10, k2tog, p8, yo, p1.

Row 103: K2, yo, k7, k2tog, k10.

Row 104: P10, k2tog, p6, yo, p3.

Row 105: K4, yo, k5, k2tog, k10.

Row 106: P10, k2tog, p4, yo, p5.

Row 107: K6, yo, k3, k2tog, k10.

Row 108: P10, k2tog, p2, yo, p7.

Row 109: K8, yo, k1, k2tog, k10.

Row 110: P10, k2tog, p9 (20 sts).

Row 111: K9, ssk, k9, yo.

Row 112: P, yo, p8, ssk, p9.

Row 113: K9, ssk, k7, yo, k2.

Row 114: P3, yo, p6, ssk, p9.

Row 115: K9, ssk, k5, yo, k4.

Row 116: P5, yo, p4, ssk, p9.

Row 117: K9, ssk, k3, yo, k6.

Row 118: P7, yo, p2, ssk, p9.

Row 119: K9, ssk, k, yo, k8.

Row 120: P9, ssk, p9 (19 sts).

Row 121: Yo, k8, k2tog, k9.

Row 122: P9, k2tog, p7, yo, p1.

Row 123: K2, yo, k6, k2tog, k9.

Row 124: P9, k2tog, p5, yo, p3.

Row 125: K4, yo, k4, k2tog, k9.

Row 126: P9, k2tog, p3, yo, p5.

Row 127: K6, yo, k2, k2tog, k9.

Row 128: P9, k2tog, p, yo, p7.

Row 129: K8, k2tog, k9 (18 sts).

Row 130: Yo, p8, ssk, p8.

Row 131: K8, ssk, k7, yo, k1.

Row 132: P2, yo, p6, ssk, p8.

Row 133: K8, ssk, k5, yo, k3.

Row 134: P4, yo, p4, ssk, p8.

Row 135: K8, ssk, k3, yo, k5.

Row 136: P6, yo, p2, ssk, p8.

Row 137: K8, ssk, k, yo, k7.

Row 138: P8, ssk, p8 (17 sts).

Row 139: Yo, k7, k2tog, k8.

Row 140: P8, k2tog, p6, yo, p1.

Row 141: K2, yo, k5, k2tog, k8.

Row 142: P8, k2tog, p4, yo, p3.

Row 143: K4, yo, k3, k2tog, k8.

Row 144: P8, k2tog, p2, yo, p5.

Row 145: K6, yo, k1, k2tog, k8.

Row 146: P8, k2tog, p8.

Row 147: K7, ssk, k7, yo (16 sts).

Row 148: P1, yo, p6, ssk, p7.

Row 149: K7, ssk, k5, yo, k2.

Row 150: P3, yo, p4, ssk, p7.

Row 151: K7, ssk, k3, yo, k4.

Row 152: P5, yo, p2, ssk, p7.

Row 153: K7, ssk, k1, yo, k6.

Row 154: P7, ssk, p7 (15 sts).

Row 155: Yo, k6, k2tog, k7.

Row 156: P7, k2tog, p5, yo, p1.

Row 157: K2, yo, k4, k2tog, k7.

Row 158: P7, k2tog, p3, yo, p3.

Row 159: K4, yo, k2, k2tog, k7.

Row 160: P7, k2tog, p1, yo, p5.

Row 161: K6, k2tog, k7 (14 sts).

Row 162: Yo, p6, ssk, p6.

Row 163: K6, ssk, k5, yo, k1.

Row 164: P2, yo, p4, ssk, p6.

Row 165: K6, ssk, k3, yo, k3.

Row 166: P4, yo, p2, ssk, p6.

Row 167: K6, ssk, k1, yo, k5.

Row 168: P6, ssk, p6 (13 sts).

Row 169: Yo, k5, k2tog, k6.

Row 170: P6, k2tog, p4, yo, p1.

Row 171: K2, yo, k3, k2tog, k6.

Row 172: P6, k2tog, p2, yo, p3.

Row 173: K4, yo, k1, k2tog, k6.

Row 174: P6, k2tog, p5 (12 sts).

Row 175: K5, ssk, k5, yo.

Row 176: P1, yo, p4, ssk, p5.

Row 177: K5, ssk, k3, yo, k2.

Row 178: P3, yo, p2, ssk, p5.

Row 179: K5, ssk, k1, yo, k4.

Row 180: P5, ssk, p5 (11 sts).

Row 181: Yo, k4, k2tog, k5.

Row 182: P5, k2tog, p3, yo, p1.

Row 183: K2, yo, k2, k2tog, k5.

Row 184: P5, k2tog, p1, yo, p3.

Row 185: K4, k2tog, k5 (10 sts).

Row 186: Yo, p4, ssk, p4.

Row 187: K4, ssk, k3, yo, k1.

Row 188: P2, yo, p2, ssk, p4.

Row 189: K4, ssk, k1, yo, k3.

Row 190: P4, ssk, p4 (9 sts).

Row 191: Yo, k3, k2tog, k4.

Row 192: P4, k2tog, p2, yo, p1.

Row 193: K2, yo, k1, k2tog, k4.

Row 194: P4, k2tog, p3 (8 sts).

Row 195: K3, ssk, k3, yo.

Row 196: P, yo, p2, ssk, p3.

Row 197: K3, ssk, k1, yo, k2.

Row 198: P3, ssk, p3(7 sts).

Bottom Edge CO 291 sts.

Rows 1-6: K all sts.

Setup Row: K3, pm, p2, * work Boat chart, rep from * to last 4 sts, p1, pm, k3.

Next Row: K3, sm, k1, * work Boat chart rep from * to 2 sts bef m, k2, sm, k3.

Cont as established until all rows of Boat chart have been worked once.

Body It may be helpful to place markers between the Water and Walking sections. Refer to charts/written instructions Row 1: K3, sm, *p2, pm work Water Chart, p2, pm, work Walking Chart over 9 sts, rep from * 6 times total, p2, pm, work Water Chart once more p2, sm, k3.

Cont as est, slipping m as you come to them, rep Walking Chart every 16 rows, until all rows of Water Chart have been worked once. (154 sts dec) Top Edge Rows 1-6: K all sts (137 sts).

BO all sts.

FINISHING Weave in ends, wash and gently block.

Page 108

Ti Pye Zoranj Sweater

by Tania Dejoie @hiver_dejoie Dyer Lindsay Vega @fiveboroughyarns

FINISHED MEASUREMENTS

11 Adult sizes shown as A, B, C, D (E, F, G, H) I, J, K worn with 2-4 in positive ease at chest. Garment Circumference: 32, 36, 40, 44 (48, 52, 56, 60) 64, 68, 72 inches | 80, 90, 100, 110 (120, 130, 140, 150) 160, 170, 180 cm. Back of neck to hem 20, 22, 24, 26 (27, 27, 28, 29) 29, 29, 29 inches | 50, 55, 60, 65 (67.5, 67.5, 70, 72.5) 72.5, 72.5, 72.5 cm. Yoke depth: 7.25, 8, 9, 9.5 (9.75, 10.25, 10.5, 10.75) 10.75, 10.75, 11 inches | 18.25, 20, 22.5, 23.75 (24.25, 25.75, 26.25, 27) 27, 27, 27.5 cm.

Underarm to hem: 13, 14, 15, 16 (17, 17, 17, 18) 18, 18, 18 inches | 32.5, 35, 37.5, 40 (42.5, 42.5, 42.5, 45) 45, 45, 45 cm. Sleeve: 15 to 22 inches | 37.5 to 55 centimeters as desired. Neckband width: 6.5, 7, 8, 8.5 (9.5, 9.5, 10.5, 10.5) 11, 11, 11 inches | 16.5, 17.5, 20, 21.5 (23.5, 23.5, 26.5, 26) 27.5, 27.5, 27.5 cm. Sleeve circumference at cuff: 8, 9, 10, 10, (11, 12, 12, 12) 12, 12, 12 inches | 20, 22.5, 25, 25 (27.5, 30, 30, 30) 30, 30, 30 cm. Sleeve circumference at bicep: 12, 13, 14, 16 (17, 18, 18.5, 19) 19, 19, 20 inches | 30, 32.5, 35, 37.5 (40, 42.5, 45, 47.5) 47.5, 47.5, 50 cm.

YARN

Five Borough Yarns . DK, 75% Superwash Merino, 25% Nylon, 100 grams / 245 yards / 224 meters; MC 960, 1330, 1580, 1890 ( 2130, 2340, 2450, 2620) 2740, 2820, 2960 yards in Prosecco, C1 290, 330, 410, 490 ( 530, 610, 660, 720) 740, 770, 840 yards in Toil and Trouble, C2 10 yards in RA, C3 10 yards in Empire snowflake

NOTIONS

Yarn Needle, Scissors, Cable Needle

NEEDLES

US 5 (3.75 mm) circular, or size needed to obtain gauge. 32”/ 80cm or longer cable.

US 4 (3.5 mm) circular, or one size smaller than needle needed to obtain gauge. 32”/ 80cm or longer cable

GAUGE

24 sts and 36 rows = 4” over Leaves chart blocked.

44 sts and 32 rows = 4” in Cable trunk pattern, blocked.

24 sts and 36 rows = 4” in 2 x 2 ribbing, on smaller needles, blocked.

Ti Pye Zoranj is a Haitian folktale where a young girl’s beautiful song encourages her magic orange tree to grow and bloom.

With some wit, she uses her magic orange tree to save herself from her evil stepmother.

This circular yoke pullover is worked bottom up in the round, so you can sing as your magic tree grows. Cabled trunk and branches stretch towards a colorwork yoke of vibrant leaves, Embroidered flowers and oranges are added once the sweater is complete.

Special Stitches 2x2 Italian Cast-on Set up row: Stretch yarn over thumb and index fingers and hold both ends with remaining three fingers as for a long tail CO. Create the first stitch by twisting stretched yarn around working needle.

Step 1: Take the needle over, around the outside and under the bottom of the strand of the yarn around the index finger.

Step 2: Grab the yarn around the thumb from above and bring it under the strand from the index finger, around the outside and to the top. This will create a purl stitch. Pull tight.

Step 3: Take the needle over, around the outside and under the strand around the thumb. Bring the needle up through the middle gap.

Step 4: Grab the yarn around the index finger from above and bring it under the strand from the index finger, around the outside and to the top. 1 k st made.

Step 5: Repeat steps 1-4 until desired number of sts is reached. Turn, Step 6: *ktbl1, p1; rep from * to end.

To convert to 2x2 rib you need to rearrange the stitches on the first row.

Switch to size 5 needles. *K1, insert the right needle tip into the second st on the left needle, slip 2stitches off the left needle. From the back, pick up the loose straight and then slip the knit stitch back onto the left needle. K1, P2; Repeat from * to end.

Elastic Bind-off K2, *Insert LH needle into the front of last 2 sts, K tog ttbl. K1.

Rep from * until last 2 sts, K2tog through back loop, break yarn and pull through last st.

Short rows are used to help fabric curve around the body by lengthening one part of the fabric. Work to turn point, sl st purlwise, yf, sl st back to LH needle, turn work. Work wrap and wrapped st tog when you next come to them.

Embroidered Orange Step 1: French knot (middle of orange): Pull yarn needle threaded with CC2 out from WS to RS. Push the needle halfway into the fabric from RS to WS close to original st. Before pulling through, wrap yarn around needle twice. Keep the thread taut with your fingers and pull needle and yarn through to the WS. French Knot formed on the face of the fabric.

Step 2: Woven wheel stitch: Starting from below your french knot, bring yarn needle threaded with CC2 from WS to RS and then from RS to WS to make five short (1/4”/ 0.5 cm) straight stitches forming a star centered around your knot. Bring the needle from WS to RS near the center once again. Working on top of the fabric, weave the needle over

and under each straight stitch spoke, around your french knot.

Cont weaving outwards until the spokes are obscured. Push your needle through to the WS fasten off yarn and secure.

Embroidered Orange blossoms Lazy daisy stitch: Bring yarn needle threaded with CC3 from the WS to the RS then back through the same hole again, leaving a short (¼”/ 0.5 cm loop on the RS. Bring the needle up from WS to RS 1/4”/ 0.5 cm from the last st and catch the loop to form a petal. Secure the petal by returning the needle up and over the loop and back through close to the second stitch. Rep to make 3-5 petals for each blossom, maintaining the first st as the center.

DIRECTIONS Hem With 2x2 Italian CO, smaller needle, and MC: CO 192, 216, 240, 264 ( 288, 312, 336, 360 ) 384, 408, 432 sts. PM and join for working in the rnd being careful not to twist sts.

Round 1: *K2, P2; rep from * to end of rnd. Rep rnd 1 until hem measures 1 inch / 2.5 cm.

Next Round: *Sl, P2; rep from * to end of rnd.

Cabled Tree trunks With MC and larger needle: Set up Round: *(K1, M1L) three times, k 34, 40, 46, 52 (58, 64, 70, 76) 82, 88, 94, pm, p2, k18, p2, pm, k 34, 40, 46, 52 (58, 64, 70, 76) 82, 88, 94, (M1R, k1) twice, M1R, p1** pm; rep from * to **. 204, 228, 252, 276 (300, 324, 348, 372) 396, 420, 444 sts.

Round 2: *K to m, sm, p2, k18, p2, sm, k to 1 st bef m, p1, sm, rep from *.

Round 3: Rep rnd 2.

Round 4: *K to m, sm, p2, 3/3 RC three times, p2, sm, k to 1 st bef m, p1, sm, rep from *.

Rounds 5-7: Rep rnd 2.

Round 8: *K to m, sm, p2, k3, 3/3 LC twice, k3, p2, sm, k to 1 st bef m, p1, sm, rep from *.

Round 9: Rep rnd 2.

Cont working full repeats of rnds 2-9 until body measures 6.5, 7.5, 8.5, 9.5 (10.5, 10.5, 10.5, 11.5) 11.5, 11.5, 11.5 inches / 16, 19, 22, 24 (27, 27, 27, 29, 29) 29, 29 cm from bottom of hem. Remove 4 m flanking the cabled tree trunks on the last rnd 9.

Cabled Branches (Refer to Cabled Branches chart or Cabled Branches chart written instructions) Round 1: *K7, 13, 19, 25 (31, 37, 43, 49) 55, 61, 67, pm, work row 1 of Cabled Branches chart, pm, k to 1 st bef m, p1, sm; rep from *.

Round 2: *K to m, sm, work Cabled Branches chart, sm, k to 1 st bef m, p1, sm; rep from *.

Rounds 3 - 62: Rep rnd 2.

Round 63: *SSK three times, k to m, sm, work row 63 of Cabled Branches chart, sm, k to six st bef m, k2tog twice, p2tog, sm; rep from * to BoR, (12 sts dec).

192, 216, 240, 264 (288, 312, 336, 360) 384, 408, 432 sts.

Round 64: K to m, sm, work row 64 of Cabled Branches chart, sm, k to 1 st bef m, p1, sm, k to m, sm, work Cabled Branches chart, sm, k to 4, 6, 6, 6 (9, 9, 9, 9) 10, 10, 10 sts bef m.

Divide front and back Round 65: *BO 8, 12, 12, 12 (18, 18, 18, 18) 20, 20, 20 sts, removing m as you come to it, k to m, sm, work Cabled Branches chart, ** sm, k to 4, 6, 6, 6 (9, 9, 9, 9 ) 10, 10, 10 sts before m, rep from * to **, k to end. 16, 24, 24, 24 (36, 36 36, 36) 40, 40, 40 sts dec. 176, 192, 216, 240 (252, 276, 300, 324) 344, 368, 392 sts. Set aside body.

Sleeves (make two) With 2x2 Italian CO, smaller needle, and MC: CO 48, 56, 60, 60 ( 68, 68, 68, 68) 68, 68, 68) sts pm and join for working in the rnd being careful not to twist sts.

Cuff Round 1: *K2, P2; rep from * to end of rnd. Rep until cuff measures 1 inch /2.5 cm.

Next Round: *Sl2, P2; rep from * to end of rnd.

Sizes 32 and 48 ONLY: K all.

Sizes 36, 40, 44, 52, 56, 60, 64, 68, 72: Increase Round: M1R, k to last st, M1L (2 sts inc.)

ALL SIZES RESUME Switch to larger needle. You will now knit each sleeve in stockinette, with evenly spaced increase rnds as below: Size 32: Work Inc rnd every 6 rnds 11 times (70 sts).

Size 36: Work Inc rnd every 8 rnds 10 times total (78 sts).

Size 40: Work Inc rnd every 8 rnds 12 times total (86 sts).

Size 44: Work Inc rnd every 6 rnds 7 times, and then every 8 rnds 9 times (94 sts).

Size 48, 52: Work Inc rnd every 6 rounds 10 times total, and then every 8 rounds 7 times (102 sts).

Size 56: Work Inc rnd every 4 rnds twice (72 sts), and then every 6 rnds 20 times (114 sts).

Size 60, 64, 68: Work Inc rnd every 4 rnds three times (74 sts), and then every 6 rnds 20 times (116 sts).

Size 72: Work Inc rnd every 4 rnds four times (76 sts), and then every 6 rnds 20 times (118 sts). K all, until sleeve measures 15 to 22” or desired length to underarm, ending 4, 6, 6, 6 ( 9, 9, 9, 9) 10, 10, 10 sts bef m.

Next Round: BO 8, 12, 12, 12 (18, 18, 18, 18) 20, 20, 20 sts removing m when you come to it, k around. 62, 66, 74, 82 (84, 84, 96, 98) 96, 96, 102 sts.

Circular yoke With RS of body facing, you will now join sleeves to body. Cont with large needle, MC and CC1, using Leaves Chart or Leaves chart written instructions.

Joining Round: *Work Row 1 of Leaves colorwork chart, rep from * to end of rnd. At the same time pm as follows: K 62, 66, 74, 82 (84, 84, 96, 98) 96, 96, 98 sts, pm; ssk 0, 1, 1, 1 ( 0, 1, 0, 0) 2, 0, 2 times, k 88, (92, 104, 116, 126, 138, 148, 162), 172, (180, 190) sts, ssk 0, 1, 1, 1 ( 0, 1, 0, 0) 2, 0, 2 times, pm; k across 62, 66, 74, 82 (84, 84, 96, 98) 96, 96, 98 sts, pm; ssk 0, 1, 1, 1 ( 0,1, 1, 0 ) 1, 0, 2 times, k across 88, (92, 104, 116, 126, 138, 148, 162), 172, (180, 190) sts, ssk 0, 1, 1, 1 (0, 1,1, 0) 1, 0, 2 times, p BORM. 300, 320, 360, 400 (420, 440, 490, 520) 530, 560, 580 sts.

Markers now separate sleeve and body sts with BOR at back left shoulder.

Colorwork Round 2-5: Complete Leaves chart as established. Cut MC.

Yoke shaping Continue with body needles and C1, Rnd 6: K around all sts, sm as you come to them.

Work until yoke measures 2, 2, 2.25, 2.5 ( 2.5, 2.75, 2.75, 2.75) 2.75, 2.75, 3 inches / 5, 5, 5.75, 6.25 (6.25, 6.75, 6.75, 6.75) 6.75, 6.75, 7.5 cm from join.

Dec Rnd 1: *K3, k2tog; rep from * to end of rnd. 240, 256, 288, 320 (336, 352, 392, 416) 424, 448, 464 sts, [60, 64, 72, 80 (84, 88, 98, 104) 106, 112, 116 sts dec].

Rep rnd 6 until yoke measures 4, 4, 4.5, 5 (5, 5.25, 5.25, 5.5) 5.5, 5.5, 5.75 inches / 10, 10, 11.25, 12.5 (12.5, 13, 13, 13.75) 13.75, 13.75, 114.25 cm from join.

Dec Round 2: *K2, k2tog; rep from * to end of rnd. 180, 192, 216, 240 (252, 264, 294, 312) 318, 336, 348 sts [60, 64, 72, 80( 84, 88, 98, 104) 106, 112, 116 sts dec].

Rep rnd 6 until yoke measures 5.75, 6, 6.75, 7.25 ( 7.5, 7.75, 8, 8.25) 8.25, 8.25, 8.5 inches / 14.25, 15, 16.75, 18.25 (18.75, 19.5, 20, 20.5) 20.5, 20.5, 21.25 cm from join.

Dec Round 3: *K1, k2tog; rep from * to end of rnd. 120, 128, 144, 160 (168, 176, 196, 208) 212, 224, 232 sts [60, 64, 72, 80 (84, 88, 98, 104) 106, 112, 116 sts dec].

Rep rnd 6 until yoke measures 7.25, 8, 9, 9.5 (9.75, 10.25, 10.5, 10.75) 10.75, 10.75, 11 inches / 18.25, 20, 22.5, 23.75 (24.25, 25.75, 26.25, 27) 27, 27, 27.5 cm from join.

Neck shaping (short rows) Short Row (WS): Beg 1 st bef BOR, wrap the st, turn to WS, p to 1 st bef m, wrap st, turn.

Short Row 2 (RS): K to 6 sts bef prev wrap st, wrap next st, turn.

Short Row 3 (WS): P to 6 sts bef prev wrap st, wrap next st, turn.

K all sts to BOR, then K 1 more rnd, working wraps tog with wrapped sts.

Dec Rnd 4: *K1, k2tog; rep from * to end of rnd. If 1 st rem at end of rnd, work as a k1, if 2 sts rem, work them as k2tog.

80, 85, 96, 107 (112, 115, 131, 139) 142, 149, 153 sts.

Sizes 33, 36, 40, 44, 48, 52, 56: Go to Neckband.

Sizes 60 (64): *K to 4 sts bef m, k2tog twice, sm, rep from * three times total, k to 2 sts bef BoRm, k2tog. (7 sts dec, 124 (132) sts).

Size 68 (72): K1(3) *K2tog, k5, rep from * to BoRm. (21 sts dec, 128 (132) sts).

Neckband (Note: For sizes 36, 40, 52 and 56 you will have to k2tog 1, 3, 3, 3 times evenly over the first ribbing rnd to fit the 2x2 ribbing). With smaller needle and CC1: Rnd 1: *K2, p2; rep from * to end of rnd.

Rep rnd 1 six times. BO all sts using elastic BO. FINISHING Embroider oranges: Using 25” (63.5 cm) of yarn for each orange, embroider french knots surrounded by the wheel stitch in CC2. Rep as desired.

Embroider orange blossoms: Using 25” (63.5 cm) of yarn for each, embroider 3-5 lazy daisy petals in CC3. Rep as desired.

Block to measurements. Sew underarm seams. Weave in loose ends.

Abbreviations 1 by 1 Left cross (1/1 LC): Sl1 to CN held in front, k next st, k1 from CN. 2 by 1 Left cross (2/1 LC): Sl2 to CN held in front, k next st, k2 from CN. 1 by 1 Left purl cross (1/1 LPC): Sl1 to CN held in front, p next st, k1 from CN. 2 by 2 Left cross (2/2 LC): Sl2 to CN held in front, k next 2 sts, k2 from CN. 3 by 1 Left cross (3/1 LC): Sl3 to CN held in front, k next st, k3 from CN. 3 by 3 Left cross (3/3 LC): Sl3 to CN held in front, k next 3 sts, k3 from CN. 1 by 1 Right cross (1/1 RC): Sl1 to CN held in back, k next st, k1 from CN. 2 by 1 Right cross (2/1 RC): Sl2 to CN held in back, k next st, k2 from CN. 1 by 1 Right purl cross (1/1 RPC): Sl1 to CN and hold in back, k next st, p1 from CN. 3 by 1 Right cross (3/1 RC): Sl1 to CN held in back, k next 3 sts, k1 st from CN. 3 by 3 Right cross (3/3 RC): Sl3 to CN held in back, k next 3 sts, k3 from CN.

Crochet

All abbreviations are in US terms Blo back loop only BPhdc back post half double crochet CC contrast color Ch chain Dc double crochet Dc2tog double crochet two stitches together Dec(s)(ed) decrease(s)(d) Fdc foundation double crochet Flo front loop only FPhdc front post half double crochet Fwd forward pass Hdc half double crochet Inc(s)(ed) increase(s)(d) MC main color MR magic ring Pm place marker Rep(s) repeat(s) Rnd(s) round(s) Rp return pass RS Right side Sc single crochet Sk skip Sl st slip stitch Slst2tog slip stitches 2 together Sp(s) space(s) St(s) stitch(es) Tks Tunisian knit stitch Tps Tunisian purl stitch Tss Tunisian simple stitch WS Wrong side Yo yarn over

All abbreviations are in US terms

Knit

Bef before Beg beginning BO bind off BoR/BoRm beginning of round CO cast on CC contrast color Dec(s)(d) decrease(s)(d) Dpns double-pointed needles Inc(s)(d) increase(s)(d) LH left hand K knit K2tog knit 2 stitches together; single right-leaning decrease Kfb knit into the the front and back of a stitch M1 make one stitch knitwise; single knit increase M1L make one stitch left; pick up strand between the two needles from front to back with tip of left needles, knit into the back of this stitch M1R make one stitch right; pick up strand between the two needles from back to front with the tip of left needle, knit into the front of this stitch P2tog purl 2 stitches together; single decrease MC main color Pfb purl into front and back of a stitch P purl Pm place marker Rem remain(ing) Rep repeat RH right hand Rnd(s) round(s) RS Right side Sk2p slip 1 knitwise, knit 2 together, pass slip stitch over knit 2 together; double left-leaning decrease Sl slip Sm slip marker Ssk slip 2 stitches knitwise, knit these 2 stitches together through back loops; single left-leaning decrease St(s) stitch(es) St st stockinette stitch Tbl through back loop WS wrong side W&t wrap and turn Wyib with yarn in back Wyif with yarn in front Yo yarn over