Spring & Summer Issue 2022

RADICLE THREADS MAGAZINE

SPRING/SUMMER 2022

Editors

Design & Layout

Elisabeth Desamour Caroline Dick Shobha Nadarajah

Elisabeth Desamour

Social Media Assistant Lisandra Bun

Technical Editors 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 Kalyn Barbary Ruthly Francois

Graphic Designer Fengyu Hao

Contact Us radiclethreads@gmail.com

Find Us radiclethreads.com @radiclethreads @radiclethreads

radiclethreads

Outreach Coordinator Caroline Dick Shobha Nadarajah

Email Marketing Caroline Dick

Marketing & Digital Content Coordinator Elisabeth Desamour

Radicle Threads Magazine, Issue 2. 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.

Editors'

LETTER GROWTH SUNNY & BRIGHT

A few months ago we sent our Inaugural Issue of Radicle Threads Magazine into the world and we are grateful for all the love that you all have shown our baby!

For Spring 2022, we envisioned two themes; Growth where seedlings germinate and life reaches for new thoughts, and past learnings are incorporated to help with current passages; Sunny and Bright, after a winter slumber of quiet and recuperating we awaken to colors that tingle and awaken our senses.

We continue to develop while growing our Magazine as we learn what works for our community and us.

Editors-in-Chief

Shobha

Shobha Nadarajah @serendipitouswool

Caroline

Elisabeth

Elisabeth Desamour

Caroline Dick

@desamourdesigns

@cdickdesigns

38 A Sanctity of Strawberries 42 Wild Weed 48 Fennigan's Farms Journal

Page 4

28 Stitching Color into History 31 ONLY CHILD Handicrafts InterviewC

BLOSSOM 44 Haïtian Vegan Onion Pie 46 Chicken Tamales 50 Albóndigas SEED52 Thengai Sadam 53 Your Griot Own Abstract Wall Art 12 Create 16 Kayou's Body Butter 17 Improv Throw Pillow SEEDLING 18 Tonal 101 We Love 38Dyeing Products 20 Semilunar Block 38 Shops WeTote LoveBag 38 Community Events 39 Get To Know

SEEDLING

CONTENTS LEAVES

SEED

08 Aasmaan Necklace 14 Beginner Colorful Clay Tutorial 18 Rolag 101 21 Intro to Soap Making 26 Huipiles Clutch

RADICLE

37 Books We Love 37 Support BBIMP Shops 37 Community Events 118 Meet the Designers 120 Meet the Dyers 122 Meet the Tech Editors 123 Meet the Community

BLOSSOM

56 Korean Fried Tofu 57 Raw Korean Cold Tofu 58 Habichuelas Rojas Con Arroz (Red Beans & Rice) 60 Poulet à la Mwambe (Mwambe Chicken) 62 Kosambari 64 Mango Peach Refresher

POD

GROWTH 69 Gul Top Crochet 72 Bloom Top Crochet 75 Blooming Lace Shawl Crochet 78 Marisoles Tank Top Knit 82 Butterfly Dudou Knit

SUNNY & BRIGHT 89 Fresh Fish Scarf Crochet 92 Rad Pouch Crochet 97 Lineal Picnic Blanket Crochet 99 Fractal Socks Knit 104 Lolly Socks Knit 110 Ujjwala Shawl Knit 113 Light Me Up Tee Knit

LEAVES 40 Fennigan's Farms Journal

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SPRING 2022 1. Read a BBIMP book 2. A BBIMP author whose first name begins with the letter B 3. A book by a non binary author 4. A science fiction/fantasy novel by a BBIMP 5. A genre that you have never read before 6. A BBIMP book that was published the year you were born 7. A movie/tv series based off a book by a BBIMP author 8. A book by a BBIMP YA author 9. A BBIMP autobiography 10. A non-fiction book on current issues 11. A translated book by a BBIMP author

READING CHALLENGE

Our Reading List Dread Nation Justina Ireland

This Long Thread Jen Hewett

Beyond The Gender Binary Alok Vaid-Menon

Black Sun Rebecca Roanhorse

The 1619 Project Nikole Hannah-Jones

SEED

AASMAAN NECKLACE

I'm currently living and work in Mumbai. My head is always buzzing with new ideas for knit, crochet and Tunisian crochet designs! Stepping into wire jewelry is a recent activity for me and I find it excitingly different from working with yarn, but just as rewarding.

“Aasmaan” means “sky” in Hindi. This beaded wire necklace is inspired by the bright and happy hues of summer. The brilliant blue of summer sky, the white of fragile wisps of cloud and the rich brown of earth are reflected in the choice of bead colors.

Designed by Padma R

This Tunisian crochet necklace is both contemporary and versatile and it is deceptively simple to make! Flexible 32-gauge wire is easy to handle and the jewelry findings are basic.

Beaded side strands add visual complexity, and pearl-finish beads along the edges are an elegant touch.

For tutorial support, contact padmardesigns@gmail.com @padma.r1

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Reverse slip stitch (Rev sl 15.5” in circumference x 1” wide (including st): Work from findings). Length can be adjusted to fit neck left to right. * circumference.

Ch 1, remove WIRE 32-gauge (0.2mm) tarnish-resistant silver hook from lp, wire: one spool (30 yards). Beadalon Artistic Fig. 1 and insert wire is recommended. hook from back of work to front under 2 lps NOTIONS of the next stitch on the edge. Replace lp on Short, thin embroidery needle. Check needle hook, yo and pull through all lps. Rep from * size: The wire should pass comfortably through Front of work: The side facing you the eye and the threaded needle should be able to Back of work: The side facing away from pass comfortably through a bead. 6/0 (3.5mm) you seed beads in 3 colors. Silverline beads were RS: Right side (outer side) of necklace, as used for necklace in photos: 28 brown, 15 white worn (pearl-finish) and 48 blue beads. Jewelry WS: Wrong side (inner side) of necklace, as findings: two 15mm spacer bars (with 3 rings on worn one side of spacer bar and one ring on the Tips for working with wire other side); two 4mm jump rings; one round 1. If unfamiliar with wire crochet, practice spring-clasp (all in silver finish) (Fig 1). the pattern in yarn first and then work a Measuring tape small piece with wire. Mistakes in wire

FINISHED MEASUREMENTS

HOOKS

2mm and 2.5mm metal crochet hooks or size needed to obtain gauge

JEWELRY TOOLS

Wire cutter; round nose pliers for twisting and closing wire; flat nose pliers for opening and closing fastenings and straightening kinks in wire. Fig 1. Note: While these tools are recommended, you may opt to use ordinary scissors and nose pliers instead.

GAUGE

8 sts and 6 rows in Tunisian Simple Stitch = 1x1”. Adjust hook size if necessary to obtain gauge. While gauge is not critical, any change in gauge will affect finished size.

Special Stitches Beaded Tunisian Simple Stitch (B-TSS): Bring next bead on wire up to the hook and work TSS. The bead sits between two stitches and falls to back of work. Fig 5. Bead colors are indicated as foll: (BR) - brown, (W) - white (pearl-finish), (B) – blue. E.g., B-TSS (B) means beaded TSS with a blue bead.

crochet are almost impossible to rip out without kinking the wire, so it is better to work carefully to avoid making them.

2. Wire crochet does not have “stitch definition” as in crochet with yarn. If needed, use the embroidery needle to separate wire strands to identify the correct stitch to be worked into.

3. Use a strong light and a plain lightcolored background (like a white fabric) to see your work clearly.

3. If you need a closer view, a lap magnifier is very useful.

4. Making a slip knot: Loop wire around hook, hold loop in place with thumb and index finger and rotate hook twice in a full clockwise turn to twist the loop (slip knot made).

5. Foundation Row: Pull up a loop of wire in the top loop of each chain (not in the back bump as is conventional in Tunisian crochet).

STEP 2 6. After working a TSS: Slide loop onto barrel of hook for obtaining correct stitch

size, and swing head of hook upwards to the right in a small (1cm) arc to open up the stitch.

7. After completing a FwdP: Gently pull hook with its loops horizontally upwards to level the height of the row.

8. Left ES: Left ES is worked only under one strand of ES in row below. Use tip of embroidery needle to identify strand.

9. Weaving in ends: Ends are woven in after completing Body and after each Side strand.

Thread end onto embroidery needle and weave it in through a few stitches on WS to bring it close to a bead. Pass wire through bead using needle or fingers (if needle is a tight fit). Press the woven-in stitches flat with your fingers. Cut wire flush with bead so that cut end is hidden inside bead. Tip: To reduce irritation from wire ends, you can apply a drop of clear nail polish and allow to dry.

Note: The photo tutorial shows techniques on a piece which is shorter than the finished necklace.

Abbreviations B-TSS – Beaded Tunisian Simple Stitch BO – bind off Ch – chain Dec – decrease/d ES – edge stitch/es Foll – following/follows FwdP – Forward pass Lp/s – loop/s Rep/s – repeat/s RetP – Return pass Rev sl st – reverse slip stitch RS – right side (outer side) of necklace, as worn Sl st BO – slip stitch bind off St/s – stitch/es TC – Tunisian crochet TSS – Tunisian Simple Stitch WS – wrong side (inner side) of necklace, as worn Yo – yarn over

CONSTRUCTION Working from the spool, thread beads onto wire in foll order: 2BR, W, 2BR, *4B, W, 4B, 2BR, W, 2BR. Rep from * three times.

Carefully wind beaded wire back onto spool and pull out only the length needed for crocheting. Tip: To prevent wire from looping out of spool and kinking, place a small, fairly heavy object (like a mobile phone) on spool to keep it stationary.

Foundation Row: With 2mm hook, make a slip knot (Fig 2). Ch 8.

FwdP: With 2.5mm hook, pull up a lp in top loop of 2nd ch from hook and in each ch across – 8 lps on hook. RetP. 8 sts. (Fig 3) Continue with 2.5mm hook. Stitch count remains unchanged at 8 sts.

Rows 1-2: FwdP: Skip first vertical bar, work TSS across to last st, left ES. RetP. Note: It is easier to identify the front vertical bar to be worked into if you gently pull up the chain of the RetP. Row 3: FwdP: Skip first vertical bar, work 3 TSS, B-TSS (BR), 2 TSS, left ES. RetP. (Fig 4) Row 4: FwdP: Skip first vertical bar, work 2 TSS, B-TSS (BR), B-TSS (W), B-TSS (BR), TSS, left ES. RetP. Row 5: Rep Row 3.

Row 6: FwdP: Skip first vertical bar, work TSS across to last st, left ES. RetP. Row 7: FwdP: Skip first vertical bar, work 2 TSS, 3 B-TSS (B), TSS, left ES. RetP. (Fig 5) Row 8: FwdP: Skip first vertical bar, work 2 TSS, B-TSS (B), B-TSS (W), B-TSS (B), TSS, left ES. RetP. Row 9: Rep Row 7.

Row 10: FwdP: Skip first vertical bar, work TSS across to last st, left ES. RetP. Rows 11-13: Rep Rows 3-5.

Row 14: FwdP: Skip first vertical bar, work TSS across to last st, left ES. RetP. Rows 15-38: Rep Rows 7-14 three times.

Bind Off: Change to 2mm hook, work Sl st BO. Last lp on hook will be at top left corner of work (WS of necklace). Do not cut wire.

Edging Turn work 90 degrees to the right so that loop is now at top right corner of long edge of the Body (WS still facing you). Flip piece horizontally from right to left so that RS of the necklace faces you. Loop is now at top left corner of long edge ready to begin edging.

Switch to 2.5mm hook. Work Rev sl st around Body, ending at the corner where you began.

Cut wire leaving a 6-inch tail and pull through last lp to fasten off. Weave in ends.

Side Strands Three beaded side strands (top, middle and bottom strands) are worked on WS on either side of the Body. Rows 1-6 of all strands are two-stitch beaded rows (approximately 1 inch long). Thereafter, top and bottom strands

continue in un-beaded TSS and middle strand continues as a crochet chain until the spacer bar is attached. Length of side strands after beaded rows can be adjusted for fit (see below).

Make strands one at a time. Working from spool, thread beads onto wire in foll order: top and bottom strands: 2B, 2W, 2B; middle strand: 2BR, 2W, 2BR. Attaching wire to Body: Hold piece so that beaded surface (RS) is at back of work and short edge of Body is at the top. The first and last stitches of the short edge are now on the right and left respectively.

With 2.5 mm hook, make a slip knot and remove it from hook. Insert hook from back to front under 2 lps of designated stitch on Body (see below) replace slip knot on hook and pull through, keeping yarn tail in place at front of work with thumb. Slip knot counts as first stitch of Foundation Row FwdP. Top strand: Attach slip knot to stitch before last stitch of short edge of Body. (Fig 6) Middle strand: Attach slip knot to middle stitch of short edge of Body.

Bottom strand: Attach slip knot to first stitch of short edge of Body. (Fig 7) All three strands Foundation Row: FwdP: Slip knot counts as first st. Insert hook under 2 lps of next st from front to back and pull up a lp (2nd st). RetP. Rows 1-5: FwdP: Skip first vertical bar, B-TSS (this is also the left ES). RetP. Use one bead per row in threaded sequence (top & bottom strands: B, B, W, W, B; middle strand: BR, BR, W, W, BR).

Top & bottom strands Row 6: Rep Row 1, using bead color B. Continue working un-beaded TSS rows until strand is 3.5 inches long. Do not cut wire.

Adjusting fit to neck: Measure wearer’s neck circumference. The length of connected findings (2 spacer bars, 2 jump rings and spring-clasp) is approximately 1.5 inches; subtract 1.5 inches from neck circumference

to obtain the needed length without findings.

Also place necklace around neck of wearer to check fit. If needed, work more rows of TSS on the strand for correct fit (particularly for bottom strand to fit comfortably around lower part of neck which is wider). Cut wire and fasten off leaving an 8-inch ending tail. Weave in beginning tail.

Middle strand Row 6: FwdP: Rep Row 1 using bead color BR. RetP: yo, pull through two lps: 1 st dec – one lp on hook. Work ch sts until strand is 3.5 inches long. Do not cut wire. Adjust fit, adding more ch sts if needed. Cut wire and fasten off leaving an 8-inch ending tail. Weave in beginning tail. (Fig 8) Attaching findings While attaching findings or twisting wire, take care not to apply force or else the wire may break.

Attaching side strands to spacer bar Top, middle and bottom side strands are attached to the corresponding rings on the 3ring side of the spacer bar.

Thread embroidery needle with wire emerging from side strand so that a double strand of wire is on needle. Keeping about 3mm of wire between last stitch of side strand and ring of spacer bar, pass needle (with double strand) through ring leaving a tail about 2 inches longer than the side strand itself. Attach double strand to ring by passing needle through ring three times. (Fig 9) With fingers, wind double strand firmly twice around both tail and 3mm of wire emerging from last stitch. Tie a firm simple knot using double strand and tail, just next to ring. Cut double strand next to needle and remove needle. (Fig 9) Using double strand and tail together (triple strand), wind firmly twice around the previously wound wire, close to ring. Twist triple strand firmly on itself 7 or 8 times at its base and cut through the twist leaving about 5mm of twisted wire behind. Using round

nose pliers (or fingers), coil the twisted wire remnant around the connecting wire, close to ring. Use flat nose pliers to flatten it so that no sharp edges are protruding. (Fig 10). Rep for each side strand.

Attaching jump rings & spring-clasp to spacer bar Spring clasp is attached on side of necklace convenient for wearer (right side if righthanded; left side if left-handed).

On side of necklace without spring-clasp: Use fingers or round nose pliers to open jump ring by pulling one end towards you and the other end away from you. Pass jump ring through single ring of spacer bar. Close jump ring using flat nose pliers in reverse movements to how you opened it.

Attach spring-clasp on other side: Attach jump ring to single ring of spacer bar. Pass small ring of spring-clasp through jump ring and close jump ring. (Fig 11).

Attaching beads along long edges of Body Four W color beads are attached on each long edge of Body, on the TSS rows immediately before and after the squares of blue beads (see Chart B).

Hold piece with RS (outer side) of necklace facing you.

For each long edge: Cut a length of wire approximately 4 times the length of Body.

Leaving a 4-inch tail, and using tip of wire like a sewing needle, attach wire at right corner of top long edge by passing it through the same st twice. *Pass wire from front to back through both lps of every third st along the edge until site of bead; thread bead onto wire and pass wire through the same st again. Rep from * along the edge until corner. (Fig 12).

Rep for second long edge. Cut wire and fasten off leaving a 6-inch tail. Weave in ends.

Finishing To neaten the work: Hold piece in left hand with RS (outer side) facing you. Use right index finger to gently press edges of Body towards the center; this flattens and straightens the edges.

Use fingers to shape Body and Side strands by gently stretching or compressing work as needed. Check for protruding wire ends and flatten them.

Fig. 2

Fig. 3 Fig. 5 Fig. 4

Fig. 6

Fig. 7 Fig. 8

Fig. 9

Fig. 10 Fig. 11 Fig. 12

Colorful Clay Cupc kes

by Irine Fabrigas

I’m Irine, the creative hands behind Ubebe Beads!

Since the birth of my baby (almost 4 years ago!) my crafting journey has become a celebration of all of the things I love as well as the physical manifestation of my desire to be closer to an ancestry I’ve felt distant from for most of my life. I’m still learning, and I’m enjoying the ride—especially as it deepens my love for my culture, and introduces me to so many other incredible people along the way!

@ubebe.beads

4 oz Polymer clay in various colors 1 Large Ceramic Tile or Baking Sheet Notes: Once polymer clay has been cured on a surface, that surface is no longer food-safe. Cookie sheet/pie tin/ceramic tile used for this project should never be used for food again.

If you can, cover your cupcake with foil, or something similar, to form a protective layer between the heat of the oven and the clay.

For tutorial support, contact Irine at irinefabrigas@gmail.com Page 14

STEP 1: Wash your hands, and wipe down your workspace to ensure minimal dust transfer to your clay.

STEP 2: Condition the clay You’re going to make the clay soft enough to work with. Grab some of the clay you’ll want to use for the base of your cupcake. A little more than you think you’ll want to work with. Press it, pull it, break it up into a few pieces, and press it together again. You can speed this up by sitting on the clay for a while before you take it out of the package.

STEP 3: Make your base Roll your clay into a ball, and hold it between the thumb and pointer finger of your non-dominant hand. The distance between these two fingers is the desired height of your cake minus the frosting. With the thumb and pointer fingers of your dominant hand, spin the clay in a circle, keeping it between the thumb and pointer fingers of your other hand. If you want your cupcake base to be smaller on one end than the other, pinch one side gently as you roll the clay between your fingers. You can use your fingernail to texture the cake a little, if you’d like!

STEP 3

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STEP 4: Baking & Curing You don’t have to do this, but I break my cupcake making into two parts: the base, and the frosting. Adding the frosting can mean I have to hold onto the base more firmly, and I don’t want my warm hands to mess up the time I spent texturing.

Curing is the process the clay goes through to get super hard.

Follow the instructions printed on the label. The general rule is half an hour in the oven at the suggested temperature for every ¼ inch of thickness.

For example: the clay I’m using says to bake it at 235°F. My cupcake is about ¾” at the thickest point. So, I’ll bake it at 235°F for an hour and a half.

When your clay is done baking, remove it from the oven and allow it to cool down.

Cooling is part of the curing process, so leave those tiny treasures alone! You can also save some time and work on the next step while waiting for the curing to happen.

STEP 5: Frosting Roll your conditioned clay back and forth on a flat, clean surface.

For a thicker frosting swirl, make a thicker log, and for a thinner frosting swirl, make a thinner log.

Holding your cupcake base in your less dominant hand, place one end of your frosting log near the top edge of the cupcake.

Gently use a fingernail to press the end of the log into the top of the cupcake. This helps adhere the two pieces together, and is also a lot easier if your base is already cured!

Starting at the outer edge, slowly twist the cupcake base in a circle, laying the frosting down as you go. Then, start making a smaller circle following the inner edge of the frosting you’ve already placed. Move upwards in a circle until you reach a point, and pinch it off with your fingernail.

If you have glitter, oven-safe beads, or more clay you’d like to use as sprinkles, now is the time to add it! Bake and cure once again.

Once the timer has gone off, you’ve taken your piece(s) out, and they’ve cooled, pat yourself on the back and give yourself a high-five because you just made the cutest little clay cupcake(s)!!!

Try using other things that might help bump up your clay game. For texturing, you can use toothpicks, a dry paintbrush, or something sharp to poke at the clay and give the cupcake base more of a cake-like look. Using the toothpick to draw the lines along the side can also help make sharper, deeper lines.

Silicone molds and clay cutters can also help add fun elements to your designs!

You can use sanitizing wipes, and/or cotton swabs with isopropyl alcohol or rubbing alcohol to help remove pesky things like fingerprints and dust from the surface of your clay.

With a few jewelry-making tools, findings, and a few more steps, you can turn your little cupcakes into fun charms!

The most important thing is to have fun with it, and make what brings you joy!

Rolag 101

By Nicolette Barrington

When Spring comes, we shift our gears from winter's hibernation to that of growth. There's an air of awakening, re-emergence, light, newness and rejuvenation. Rejuvenation as a concept of growth can mean taking an old thing, viewing it through different lenses, then making it new. Creating rolags requires just that -- looking at fiber you have already then using your creative lenses to make that fiber something new.

A good place to get started is finding inspiration for which color combos you like, want to put together and more importantly, spin. Inspiration is limitless so it might be tough narrowing down which colors you want to use for your first go, but that's all part of the fun! Pictures from a magazine, your favorite album cover, flowers from your garden, street art, colors from your favorite outfit. you can find inspiration anywhere, everywhere you look.

For tutorial support, contact dnali446@gmail.com

Page 18

@dnali.thestudio

Notes: Be adventurous -- mix your sheep breeds. Think of this as creating a combo spin in rolag form! Spend some time familiarizing yourself with basic color theory. Understanding the basics, helps you to decide how you will "paint the fiber" on the blending board especially when working towards a variegated yarn. Basic color theory helps to avoid muddy color combos. Adding fiber, a little bit at a time cannot be overstated. Packed tines on the blending board means a dense rolag which would be hard to get off the dowels, hard to draft and not enjoyable at all. Stagger your dowels (as shown on pg 20), makes them easier to come out of the rolag.

Supplies Fiber (any breed) Blending board 2 Dowels STEP 1: Lay out your fiber.

Decide if you want to pre-plan the way you paint your fiber or if you want to "make it up as you go along". If pre-planning, it's helpful to lay the fiber out in the order in which you want to paint it on the board.

STEP 2: Painting the fiber Begin "painting the fiber" on the board in small incremental amounts. Adding small bits of fiber at a time is foundational to building a rolag that is consistent all the way across and avoiding thin spots. Use a soft brush to gently pack the fiber into the board's tines. Pressing the fiber down shows where there are thin spots. Use the flicker to smooth the fibers. The flick tool cards the fiber as it smooths.

1 Soft bristle paint brush 1 Flicker brush Add-ins (firestar, locks, yarn bits etc.)

STEP 3: Add-ins With the first layer in place, because add-ins are not always smooth, it helps to sandwich them between the first and second layers of the rolag.

Skip this step if the goal is to make a smooth rolag. Paint a second layer of fiber on the board.

STEP 4: Sandwich the ends of the fiber (bottom of the board) between the dowels. Begin lifting and rolling the fiber around the dowels in the direction of the top of the board. While lifting and rolling, draft the fiber towards you. You'll feel the fiber come away from the board, when that happens, your first rolag is made.

Repeat steps 1 - 4 until you have the number of rolags you want. Then it's time to spin your creation!!!

Even if you don't make a great rolag the first time, try again, don't give up!

D. Nicolette Barrington is a knitter turned spinner. “I have never met a fiber breed I didn't love, a spindle I can’t use or a wheel I don't want to test. I also knit, crochet, and am learning to weave.

Page 19

Sample in this photo are colored with turmeric. Plant powders like turmeric, activated charcoal, camwood, neem and moringa can be added to soap bars to make them colorful, and you can enjoy their added benefits, too!

Hello! My name is Adaeze Eche, and I am the chief soap maker for Roots2Skin, my small business which sells handmade soaps, body scrubs, body butters and body oils all made from plant-based ingredients. I discovered soap making five years ago as a hobby, and I’ve never looked back since then.

I am based in Nigeria, and my home country is rich in natural ingredients like shea butter, camwood, honey, turmeric and fruits which I incorporate into my recipes. In a place where skin bleaching is popular due to colorism, I am committed to encouraging women of all colors to love and be confident in the skin they are in, and use safe products that will not bleach their skin.

Notes: Always wear protective clothing like lab coat or clothes with long sleeves and long pants. Protect your eyes, face and hands by wearing safety glasses, a mask and rubber gloves. ALWAYS ADD YOUR LYE TO WATER and not water to lye. Once you mix them, do not inhale the fumes from the mixture while you stir. Lye and water mixture gets very hot; handle this with care and do not carry it around. If you get some lye or soap batter on your skin, rinse off immediately with cool water. Ensure that you get rid of ALL distractions before making soap; one mistake could ruin your work or cause injuries. Do not be tempted to use your cold process soap until you are sure it has cured for at least 4 weeks. Any equipment used for soapmaking should not be used for food, even after being washed.

WHAT IS SOAP? Soap is a cleansing agent made from a chemical reaction between animal fats or plant oil and an alkali called sodium hydroxide or lye. When dissolved in water, soap has the ability to remove dirt and oils from surfaces like human skin, fabric, and other solids.

HOW IS SOAP MADE? Soap is made from a process called saponification. In this process, oils and Page 22

lye are combined and heated and the result is soap. Without lye, saponification isn’t possible, so lye is necessary to create soap. Making soap can happen in two main ways: 1. Cold process: This is a method of making soap by mixing fats/oils with lye, but without additional heat. Here, the heat used in this process is created when the lye is dissolved with a measured amount of water before mixing it with the fats/oils.

2. Hot process: This process involves making soap by mixing fats/oils with lye and adding extra heat through the use of a crock pot or with a double boiling method.

BENEFITS OF COLD PROCESS SOAP MAKING METHOD: Cold process method allows you to customize your soap ingredients and get more creative. This means that you can choose the ingredients you want to use in your soap. Because it does not involve external heat, this process buys you time to design your soap as you wish.

COMMONLY-USED TERMS IN SOAP MAKING Superfat: This is the oils in the soap that do not react with the lye when you mix them. Superfat is usually measured as an extra 1-10% of the total oils used in your soap recipe. It can (and should) be a gentle oil that isn’t harsh on the skin. After using handmade soap that contains superfat, you will notice that your skin feels smooth and slick. This is because a small amount of the extra oil is on your skin after rinsing off the soap. This extra oil helps to moisturize your skin.

Trace: This is a point where the soap and lye are mixed completely and the soap starts to thicken. It can look like custard or pudding. When you raise your spatula/blender and drizzle some soap on the surface of the mixture, it leaves lines on the surface that don’t sink in.

Curing: This means giving your soap time to become harder after producing it. You are to keep your soap in a cool, dry place with enough air so that water will evaporate from your soap and allow it to be stronger; this helps your soap last longer in the shower. Curing handmade soap lasts for 4 to 6 weeks, but the wait is worth it!

Makes: 6 minutes

Prep time: 30 minutes Mixing time: 25 minutes Total time: 55

Ingredients (Oils and water are calculated by weight in grams (g), not volume in milliliters (ml)) 150g Sunflower seed oil 30% 150g Canola oil 30% 100g Coconut oil 20% 100g Shea Butter 20% 15g Superfat (Sunflower seed oil) 3% 72g Water 147g Lye/Sodium hydroxide 1 tsp (5ml) Sodium lactate (optional, and should be added to the cooled lye and water solution) 15ml Fragrance oil (Optional, and should be phthalate-free) 3%

Equipments Bowls (stainless steel, glass or plastic; avoid aluminum) Containers for ingredients (beakers, jars, small bowls) Silicone spatulas Whisk (optional) for mixing oils and lye before blending Measuring spoons (a set of measuring spoons will be very helpful) Weighing scale Soap molds Stick or handheld blender Protective clothing, gloves, goggles, face mask

INSTRUCTIONS 1. Carefully measure all your ingredients. If your coconut oil and shea butter are solid, melt them in a microwave in 30 second intervals or place them in a bowl of hot water to melt.

2. Add the sodium hydroxide to the water and stir slowly. Ensure the sodium hydroxide dissolves completely in the water. Do not inhale the fumes. After mixing, allow the mixture to cool by placing it in a bowl of cool water or close to a window.

3. Add your sodium lactate to your lye mixture if you have any.

4. Slowly, pour lye and water mixture into your oils and stir gently with your spatula or whisk. Stir until the lye and water are completely mixed and there is no oil on the surface of the mixture. At this stage, the mixture is EMULSIFIED. 5. Blend for a few seconds with your blender. Your mixture will get slightly thicker. This stage is called LIGHT TRACE. You can now add your superfat oil(s).

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mixture is EMULSIFIED. 5. Blend for a few seconds with your blender. Your mixture will get slightly thicker. This stage is called LIGHT TRACE. You can now add your superfat oil(s).

6. Stir for a few seconds before blending briefly 7. Add your fragrance oil, if any. Fragrance oils can make soap trace faster, and so you have to be watchful.

8. Blend or whisk for a few seconds one last time and observe the thickness. If it’s thick, it’s ready to be poured into your mold.

9. Pour soap batter into your mold and put aside 10. Clean up your work space, dispose all disposables, and wash your equipment 11. You can unmold your soap after 1 or 2 days. Place your soap bars on a rack or shelf with enough airflow. Turn them over every few days for 46 weeks. After which, your soap bars are ready to use, great job!

For tutorial support, contact echegeorgeadaeze@gmail.com

@roots2skin

Sample in the photos below are colored with turmeric and activated charcoal. Plant powders like turmeric, activated charcoal, camwood, neem and moringa can be added to soap bars to make them colorful, and you can enjoy their added benefits, too!

Huipiles Clutch

Growing up, my grandmother would wear the most beautiful Huipiles.

These simple dresses that many Mexican women in our area wore were adorned in hand-embellished floral embroidery. Now, as times have slanted towards machine-made imitations, it is more important than ever to remember the roots of the style and the original handmade nature. This clutch is an homage to Huipil Dresses and the talented Latine artisans who defy the pace of fast fashion and continue to embroider them by hand.

TIME: Weekend Project SKILL LEVEL: Adventurous Beginner TOOLS: Scissors / Rotary Cutter, Safety Pins or Wonder Clips, Embroidery Needle, Embroidery Hoop Sewing Machine, Heat Transfer Pencil, Iron, Ironing Board FINISHED MEASUREMENTS Approximately 6’’ by 8 ½’’

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I am a fiber arts designer who strives to break the status quo when it comes to garments and accessories. Keep up to date with my design and projects on Instagram @portquoelio.

MATERIALS (Fabric A) ½ Yard x 42” of heavy woven cotton fabric (Fabric B) Fat Quarter of contrast lining fabric Medium Weight Interfacing Matching thread Embroidery Floss. Sample uses DMC Floss in colors; 600, 995, 3837, 704, 307, 740, 321, 700.

9’’ Zipper. ½’’ D ring. Tracing Paper.

For tutorial support, contact Qualyn at thequoe@gmail.com

INSTRUCTIONS Cutting From A, B, and interfacing, cut two 7’’ by 9 ½’’ panels From A, cut one 20’’ by 2’’ panel Embroidery prep Taking tracing paper and heat transfer pencil, trace embroidery pattern pressing firmly into tracing paper.

(Fig 1 & 2).

Taking one panel of A, lay right-side-up (if applicable) and place tracing paper traced-side down onto fabric.

Line up design in the direct middle of fabric. Following heat transfer pencil directions, iron outline onto fabric. (Fig 3).

After ironing the design on, go over fabric with pencil to darken lines if needed. Place fabric onto an embroidery hoop and stretch taut before securing. (Fig 4).

Embroidery Begin embroidering onto fabric within outlined design in your choice of colors. For all embroidery work besides swirls, a satin stitch is recommended. For swirls, use a backstitch. (Fig 5).

Sewing prep After embroidery is complete, remove fabric from the hoop and iron all panels of A and B. Place both 7’’ by 9 ½’’ panels of A right side down on the ironing board and iron interfacing onto both according to interfacing instructions.

Sewing Fold 2’’ by 20’’ panel in half lengthwise with right sides facing in, and sew together along the edge using straight stitch and ½’’ seam allowance. Turn the tube right side out and iron flat. Set aside.

Lay down one panel of B right side up. Lay zipper along top edge of B face up. Lay down one panel of A right side down atop the zipper and lining fabric. Pin along the zipper edge and sew through all layers using a zipper foot.

Open fabric and repeat step above on the opposite side. Open fabric once more. On either side, press fabric away from the zipper to lay flat. Sew a topstitch along the zipper on either side.

Take the 20’’ tube and cut 2’’ off. Set aside the 18’’ piece. Fold 2’’ tube in half, catching the flat side of ½’’ D ring between.

Unzip zipper ¾ of the way to the end.

Bring both panels of A right sides together and pin along all edges. Place the tube with D ring between the right sides of A on the leftmost edge towards the zipper and pin in place. There should be about 1’’ of tube sticking out of the wrong side.

Bring together both panels of B and pin along all edges leaving a 4-5’’ gap at the bottom for turning. Starting at one side of the bottom gap sew all the way around both A and B panels using a straight stitch and ½’’ seam allowance. Stop at the opposite end of turning space.

Turn the clutch right sides out and push out corners of outer fabric. Pin along the turning space edge of the lining and sew a straight stitch across using a ¼’’ seam allowance. Keep lining fabric pulled out for finishing.

Run the 18’’ tube through the D ring. Sew ends of tube together using ¼’’ seam allowance and clip excess fabric. Hold the sewn edge against the D ring and sew both sides of the tube together as close to the D ring as possible to finish the strap.

FINISHING Clip all threads. In desired floss color, stitch along the outer edges of the clutch using a blanket stitch. Hide ends. Push lining fabric in and zip up clutch. (Fig 6).

Fig 1.

Fig 2.

Fig 3.

Fig 4.

Fig 5.

Fig 6.

Hover over with your phone's camera to download the printable design/pattern.

Use the case sensitive password SPRING

RADICLE

COLOR IN HISTORY

By Zoe Smith-Holladay

@neopetsbabyblanket

I am a 7-year creative writing senior at the Denver School of the Arts. When I’m not writing poetry I’m playing with my puppy Soji, sketching fashion croquis, or thinking about how Colorado summer can’t come quick enough.

At the crooked, sloping end of a viny South Carolina backroad lies rows of squat, ranch-style houses where “Nana Sippie'' and my Great-Aunt Zelma are chattering cable boxes chewing up and spitting out reruns. In the looming, cicada-stacked evening the walls leaned into me as if generations past wished to whisper splintered stories from them.

Aunt Zelma and I shoved blankets off the bed--our makeshift sewing station--so we could shake hands with the bare bones of family forgotten, spirits clinging to memory in swatches of yellowed lace and magazine cutouts of permed, grinning Black women in satin gowns.

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Our sewing machine was a racing greyhound, carelessly skipping over stitches. But I wouldn’t have it any other way. Aches of weary hands and tired eyes from taking out the same crooked stitch thrice faded as something came together before them.

When we finished the heirloom dress, I marveled at it as if we’d just delivered an actual baby from our hours of labor. On the groaning porch, churning family stories in our sweet tea, we listened to the shrill cries of the harvestflies whose ancestors carried in their bodies the same melody that followed mine in shackles. We joked about too many frills on a Sunday dress and the deepest neckline acceptable to wear to a dinner party.

Thinking of our experiences, history and joy being cut out of humanity’s canon like sheer fabric under scissors, my determination is allconsuming.

“HOW CAN I MAKE THE WORLD SEE OUR STORIES AND COMMUNITIES THE WAY I SEE IT, THE WAY I LOVE IT?” W.E.B. Dubois, a Black academic who so succinctly yet brutally lamented the introspective

proportions of white supremacy, refined the power of narrative to reverberate not only with thinkers of the contemporary period but spirits stretching through our past, present, and future. Around the height of Dubois’s career, Nana Sippie was born, and 1930s-era Jim-Crow made “fashion design” far from a luxury. The work of Black seamstresses, true artists, was treated callously and garnered little to no Black benefit.

Generations of Black women learned to sew by hand and later by machine out of necessity and expectation.

As Richard Thompson Ford said in “Dress Codes: How the Laws of Fashion Made History”, “Our clothing becomes a part of our bodies, both reflecting and shaping our personalities.” And greater than that, clothing becomes a piece of our souls, our ‘second sight’, our beautiful and often tragic history as human beings.

After being taught how to sew as a preteen, I can ignite that spark with my Brother machine: awe at the slanted needle punching thread into the grain of the fabric, Stitching Color in History

how this simple, straight seam tells us everything. From boundless, geometric shapes color-blocking traditional African Batik, the profitable parts of Black nationalism mimicked on Gucci billboards, to antebellum dresses that would’ve been worn by the white Southerner class which enslaved my ancestors, to dark splashes of school jumpers sensationalized by mid-1900s integration efforts to what folds, hangs, zips and wraps around our bodies daily. So much of this knowledge only lives on in crumbled catalogs and art by Black photographers, designers, theorists, braiders, and weavers long disregarded—and in harnessing that force lies exceptional power.

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As a Black intellectual, writer, student and artist I find the greatest gateway to loving history is not seeing iconography of redcoat-clad soldiers shooting muskets, rather, experiencing life with this never ending assertion that something is missing from the way we’re used to seeing and interacting with the past.

My passion emerges from this desperation: an unending grasp towards fabricating my own identity, what unites and bewilders the world.

I want to understand history not as what was deemed important enough, truthful enough, or white and European enough to be remembered, but where it threads together to resonate with and reflect on all of humanity.

Interview with Krysta Furioso

by Caroline Dick

ONLY CHILD

Handicrafts

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I was born and raised in Thunder Bay, ON. I was adopted at birth into a nonIndigenous family. My father's family is from Fort William First Nation.

I've lived on the west coast since the mid-90s but my family still lives in Thunder Bay. My partner and I have a 15-year-old daughter and two border collies. We live in the traditional unceded territory of the Hul'qumi'num-speaking and SENĆOŦEN-speaking Peoples on Salt Spring Island, British Columbia.

Who is a BBIMP who has inspired you?

Amber Stark is an AfroIndigenous woman from the Muskogee (Creek) Nation. Her crucial perspective as a member of both the Black and Indigenous communities, and her voice is one I turn to in order to be an effective ally for my Black relations and to keep myself accountable for the antiBlackness that exists within Indigenous communities.

How and where do you find inspiration?

I am fascinated and in awe of the artwork that has been gifted to the world by my Anishinaabe relations and Ancestors. In the past couple of years I have been incorporating more Woodlands themes and motifs in my work, and knowing that I am participating in the continuance of my culture makes me feel more connected to my Ancestors.

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How did you start beading?

I started beading when I was 12 after being powerfully drawn to beadwork of all kinds. I didn't have access to a ton of materials so I collected and salvaged beads from anywhere I could. Taking apart damaged pieces so I could reuse the beads allowed me to reverse engineer many bead weaving stitches and gain an understanding of pattern-making. Beading became a compulsion that I only understood years later as I reconnected to my Indigenous family and community.

Discovering that beadwork is the medicine that my Ancestors gave me to support my family and lift up my community has made all my early years of constant beading make perfect sense.

Do you feel being Indigenous has an impact on how your creativity is received?

I believe the way people have reacted to and been interested in my beadwork has become more and more tied to their celebration of Indigenous culture.

As awareness of our history and the effects of colonization grows, so does the commitment people have to support us through our cultural artwork. We are seeing more and more non-Indigenous people recognizing that Indigenous Invisibility has led to generations of ignorance and apathy. As we continue to reclaim space, our artwork is often a conduit for growing relationships and being seen.

What are you working on right now?

Right now I'm developing a new line of wearable art that incorporates wiigwaas (birch bark). The birch tree is considered our tree of life in Anishinaabe culture. It was an indispensable material in our historical innovation and remains a precious gift from the land that we use for tools and artwork. I was gifted a large roll of wiigwaas by Helen Pelletier, a talented and knowledgeable artist from my home reserve. Discovering the endless ways a material that was such a part of my Ancestors' lives can come together with beadwork has been one of the hugest joys of my creative life.

They are both based on original Woodlands-style artwork by me and feature Anemki (Thunderbird) who is the symbol of the Anishinaabek Nation.

The first was made for me and has been lent to a couple of Anishinaabe women for events and photoshoots.

I'm so proud to see it being worn in strength by other Native people. The second piece was commissioned by another Anishinaabe beader who I love and admire enormously. I am honored that she will be its keeper and be able to bring it into places of strength with her.

Who taught you, encouraged you?

I am mostly self-taught, not having grown up in my Indigenous community.

In my teens, I was taught some bead weaving stitches and techniques by a couple of Ojibwe people I knew, as well as the owner of the little craft store I frequented. I was lovingly encouraged by all of those people as they could see that beadwork was going to be my lifelong craft.

Can you share what are the steps/practices that you take to create your work?

My creative process variably starts with a completed picture spontaneously appearing in my mind.

As a career graphic designer, I am used to envisioning space and patterns, and how they interact with one another. Honing my mind's ability to bring color and shape together in a manner that can be manifested in a given space means that simply seeing a color I like can spark

images that I want to translate to beadwork. In manifesting these images, I sometimes use my graphic design tools to create a visual pattern, and other times there is no pattern, just a combination of materials, colors, and techniques.

What is the message that you want your audience to take away from your work?

I'd love for people who see my work to come away feeling they've just seen evidence of our living culture. I believe being able to see tangible indicators of how Indigenous ways have been sustained over generations via our artwork can inspire people to celebrate all aspects of our culture, and respect all the ways we are working to protect it. www.onlychildhandicrafts.com IG: @onlychildhandicrafts.com Work also available at www.byellowtail.com

books we

SEEDLING

love

Knitting for radicle self-care by Brandi Cheyenne Harper

Brandi Harper aims to help you unearth the immense benefits that knitting has to offer. In her book, Harper offers tips and suggestions for carving out time for creativity, alongside beautiful patterns to try yourself.

Vegetable Kingdom by Bryant Terry An inventive, mouth-watering feast of many kinds, and at the same time sensual, musical, intellectual, and cultural.

Whether or not you’re vegan, it’s full of recipes we all want to make in our kitchens. From crunchy slaws to creamy soups and vegetable po’boys, Bryant has created an inspiring collection of dishes that channel so many influences.

events

COMMUNITY

Support

BBIMP shops

TUNISIAN BLANKET CAL 2022 (Jan 5-Nov 23, 2022) Hosted by Arunima Goel @knitterknotter.

Sewist Cheyenne @meandmystitch

MAKE IT INCLUSIVE MAKE-ALONG Hosted by Promised Fibers @promised.fibers

Woman-Owned Press Abalone @abalonemountainpress

My Boy Lollipop KAL (May 1- May 31, 2022) Hosted by Nancy Ricci @gettingpurlywithit

Goodies For Purpose, Passion & Play Denisha DeLane @melaninmeanings

KNIT DIVERSE KAL 2022 AAPI Edition (Apr 12- May 31, 2022) Hosted by Aimee Sher @aimeeshermakes.

SOCK STASH ALONG 2022 (Jan 1- Dec 31, 2022) Hosted by Mckenzie Mullen @emtothethird.

Fine Beadwoven Adornments & Heirloom Pieces Krysta Furioso @onlychildhandcrafts Indoor Garden Shop Tishana Richards @coco_and_seed Hand Crafted Candles Alexia Gabrielle @black_moonco Page 37

LEAVES

A SANCTITY OF

STR WBERRIES

By Natalie Warner

“Get a strawberry plant; they’re easy to grow,” I was told once upon a time. “All you need is a trough – they’re not big, they’re not fussy about soil, and just make sure they get lots of sunshine.”

Strawberries are in the Rosaceae (rose) family, and I decided that was adequate proof of their toughness.

Roses are a plant I know about, thanks to my late grandmother’s love of gardening: they are resilient, evergreen creatures with strong taproots and a yen for sunshine. I did some research, learning that many fruits – apples, pears, plums, cherries, raspberries, almonds – are in the rose family. Eventually I reasoned that if I had learnt enough from my grandmother to keep roses alive, perhaps I could do the same for strawberries.

As luck would have it, and after a couple of lean years, my strawberries had their most plentiful harvest after the first UK lockdown. Before then, I’d been nurturing them with sunlight, water and occasional sips of Page 38

food, eager to see how much fruit I’d get – and after that, how many runners the plants had produced so I could increase my stock.

Gradually, my strawberries became more than a garden snack or side project as I took on responsibility for my grandma’s garden; handfuls became bowlfuls, and I was unpopular indoors if I missed a few whilst picking!

I do not have a large garden, but I am fortunate to have one, and I set about creating space for my newly expanded strawberry crop. The best option was to attach shelving to the back fence, which gets direct sunlight from late morning onwards, and hope it was enough.

It wasn’t long before I realised I’d need another shelf, and I had also narrowed my research focus: Which strawberry varieties fruit twice a year? What’s best suited to the climate? I have no idea which variety I have, but in September 2021, six flowers appeared long after the main harvest in early

summer. More questions: Should I grow yet more strawberries, or try another fruit in the trusty Rosaceae team? What does the rest of my family want?

My sunny enthusiasm is set against the cloudy backdrop of Brexit and the COVID-19 pandemic. Not only were we indoors for lockdown, but food shopping also became more frequent and stressful. Soon after January 2020, food supply problems emerged; I found myself shopping at three supermarkets instead of just one. On one hand, I enjoy the long walk to the next town to get the fruit and vegetables; on the other, it is more time away from people I care about and other important obligations. Like access to land, access to time is at a premium – but I made the investment and fed my household.

Lately I’ve paid closer attention to community garden schemes – or, more engaging and conscious efforts to address social inequality.

Access to green space as well as fresh fruit and vegetables is denied to many, and the pandemic has exacerbated these issues. Some people flouted social distance guidance in order to enjoy their local park with friends and family; a sharply increasing number got

involved with community gardens to learn how to grow food. One flaw in these well-intentioned schemes is that you can only have a plot for a year, during which you’ll be supported by group leaders and more experienced volunteers. When the year is up, you’re back to square one. Priority is given to those without a garden, but there is no real prospect of building on the skills you’ve begun to acquire. A year is not a long time in the plant world, and this immediately restricts your aspirations and access to knowledge – precious knowledge that can take a lifetime to acquire and pass on to another generation. Tomatoes, courgettes and runner beans will yield within a year, but fruit bushes and trees take far longer to mature.

It’s also worth mentioning that there are no municipal laws protecting the status of fruit trees, which were once fairly abundant thanks to former farms in my part of London. This further limits the options of those with gardens or responsibility for land; apples and pears are typically not self-fertile, and need several pollination partners for consistent

and successful fruiting. Fruit trees are rarely considered a public health benefit when it comes to property and land (re)development; if new housing is constantly built on brownfield or even greenfield sites – typically flats or apartment blocks – how will yet more people eat well and access outdoor space? What about making old or disused houses habitable again, and recognising that green space is also living space?

Observations like these have all but convinced me to turn half of my garden into an allotment, and I’d like to squeeze in a plum tree.

Continuing research indicates that many are naturally self-fertile, but sentiment questions the change.

Once upon a time, the garden was my grandma’s sanctuary.

I remember her on the recliner during hot summer days, reading her newspaper, enjoying the fresh air and the fruits and sights of her labour. For me, the garden is still a sanctuary – but now it is one that must, it feels, be as functional as it is escapist.

Historically, sanctuaries were sacred places where fugitives were immune from criminal arrest, and it is worth mentioning that the word

Page 40

'fugitive’ simply refers to one who is fleeing (Latin: verb fugure – to flee; noun fuga, – flight). The sanctuary is a safe space; they can stop running, stay put, and enjoy the arrest of time instead. I might miss my weekly walks and fruit hunts, but maybe the oncewhimsical idea of growing strawberries and plums will turn out to be one of the most precious and sanctified deeds of my life.

Maybe my future grandchildren will agree.

I am a knitwear designer, teacher and writer from London, UK. My work is inspired by the creative practices of my family elders, nerdy fascination, and a love of nurturing plants, people and ideas. @natalieinstitches

DIGITAL COPIES AVAILABLE RADICLETHREADS.COM

This is a story of a neurodiverse woman who believes in biodiversity.

It’s me against the lawn. And being against the lawn is being against aristocracy and White Supremacist Patriarchy that comes with a healthy dose of Eugenics.

There is something poisonous about order in the way individuality is suppressed and tucked away to blend in the sameness of lawns, even though we do not see the reason to have only lawns, but to create laws for everyone to keep their property the same, though the individual supposedly owns said property. There’s something wrong when you harmlessly step out of line from the norm, you’re shamed and or punished for your lack of control of sameness. Sameness is deemed rational even when it’s origin is not rational at all.

That’s how it feels as a nuerodivergent queer black woman raising an autistic queer child. As soon as we’re born we are squeezed to fit in a society that does not make sense. Just like lawns, people can be constantly clipped until they no longer dream of exploring their natural selves. Just because one person gets joy out of a carpet of grass, that doesn’t mean their

neighbor does. Why are some plants acceptable and some are labeled weeds? Why are certain grasses deemed good grass? Why are some plants considered weeds and have a very active industry focused on killing them?

There is a set order that has nothing to do with or for most of us. It’s not meant to recognise women, those outside of the binary, cis gendered who do not uphold the sanctioned actions of said genders, those who are LBGTQIA+ and those who aren’t what is deemed as nuerotypicalthe sanctioned Normal. Who is deemed good grass and who are considered the weeds in this society?

By definition Aristocracy is a form of government that places strength and power in the hands of a small, privileged few. Our “democracy” by words actually continues the suppressive ways of an aristocracy.

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We are tricked into feeling we have choice when we are actively voting for sameness and in that sameness we agree to hand over our control.

We ask to be maintained like the lawn, we are enamored by it’s ‘neatness’ to think we are doing right by society and ourselves by staying in line no matter how much is chipped at our being. Aristocrats did not need to farm on property that contained their homes. They had the people they oppressed to do that. Instead they had large gardens as entertainment. We mimic this property for entertainment when property used to be for growing foods and medicines. If we are maintaining lawns for entertainment and demand for each other to keep this sameness of neatness, where are we to get our foods and medicines?

That’s right- we put our wellbeing in the hands of the selected few.

Who do we get via the powerful few to grow our food? We have people Page 44

we oppress to do that.

This suppression of free use of our purchased land is to upkeep the imbalance that leaves all of us powerless. Not only are we not free to express ourselves as individuals, we are, by law, kept from having the choice of what we put in our bodies. If we want that choice, we’d have to pay dearly.

Example: If we wanted organic vegetables, why can’t we dedicate our front lawns to growing organic vegetables? Why do we have to travel out and pay high prices for the organic produce we could have grown for pennies on our property we supposedly own?

Why is growing food in our front lawns, and sometimes backyards, against the law when it’s property we own? Why are there penalties that go as far as seizing the property that we supposedly own?

Why are we punished for what we decide for our bodies, by innate right, is our own?

Maintaining lawns is Imperialism and imported White Supremacist Patriarchy. The constant need to dominate, collect all the plants for entertainment, and control the land instead of learning from it has done so much harm to our ecosystems.

Instead of learning from the Native peoples in this country and allowing a diverse society, the demand for sameness went as far as being actively genocidal to this day. Not to allow biodiversity and diversity in people is to daily kill who we are.

How does this get to my lawn? My lawn has been deemed undesirable just like me and my daughter in this society. They say we’re bad dirt, too difficult, too hard- nothing can grow on it though I constantly have to cut the growth to act as a lawn.

Insulted they can speak of our beings and the very ground on which we stand, in this way, I blocked people from stepping foot into the backyard. From there I let everything grow as I listened to who the earth was and it’s needs. As plants grew freely, I was determined to identify every one.

You know what I found? Sow thistle, wild brown mustard greens, Virginia plantain, dayflowers, ground cherries, cleavers, wild lettuce, honeysuckle, dandelion, mustang grapes, prickly sida, wood sorrel and goldenrod to name a few.

Seeing what thrives, I’ve planted seeds of plants that are just as prolific, what is usually called invasive- a label deemed for a vast

amount of unwanted weeds. Thus my medicine garden was born.

To my surprise I had been ritually cutting down vital medicine I could use as they grew in their seasons. In keeping with the colonized sameness of lawns, I would have missed out on the answers we needed. Isn’t that the same for people? If we revile what are deemed as weeds, are we turning away from our medicine, thus depending on those who uphold white supremacy and patriarchy for our overall well being? By demanding sameness, we are missing out on the very answers our society needs. Who could we become if we took back our power? Who could we be if we allowed individuals to be exactly who they are? Who could we be if we threw away aristocracy, letting our lands grow to discover what is? What if we allowed ourselves to step away from this fast paced capitalism that benefits the few, to listen to ourselves? What if we regained our relationship with food by growing it? What if we saved and shared seeds? What if we sought answers from each other instead of demanding the selected few to govern?

What if we let go of our dependency on this imbalance that only benefits out of control capitalism?

GARDENING, MICRO FARMING AND EVEN FORAGING IS A QUIET REVOLUTION. It’s a whole unlearning while learning about biodiversity in plants and in us.

In biodiversity we widen our palette, we relearn traditions, we learn of our varied beliefs and existence with acceptance. We learn not to just exist, but thrive. If you don’t believe me, plant a seed today and see how much you question everything.

My name is Danielle Ellis. I am a queer Black mother in Texas homeschooling a brilliantly creative daughter. We are a matrilineal, nuerodivergent home. I laughingly call myself a ‘Rogue Art Teacher’ setting up public art tables for anyone to participate, which causes people who’d most likely never commune together gather to create and laugh. I cofounded Mermaids Bring Water, an initiative highlighting Sandbranch,Texas, the scarcity of clean water, water rights and has provided emergency water in time of crisis.

At home, you can find me working (and occasionally cussing) in my medicinal garden and identifying plant ally volunteers. As we continue building ground, our goal is to be a fully functional urban homestead. Art is Freedom and Freedom is the Goal.

You can usually find me painting live in different venues or on FB and IG as Brassfly Studio.

Danielle Ellis

@brassfly_studio

gn i l s e a n al d r r u t u ms ul r o c a i J F r ag s n’s e a l g b i m n nd na r i n a a e a e t F f F sus k li an. c s g d i ’ a n l h n ,a ic fB y. t a o m M r n , n g a t g i r duo, f Detroi iberatio soverei n n Fe A siste cated in rt the l gh food po lo p rou m u h s a t o te s tie ts t i s i n x u e m com

This growing season was unlike any we had experienced before. We grew different things, met new people, and learned new lessons. Rather than talk to you about the cool tomatoes we managed to see fruit, in this 2nd part of this series, we’re sharing with you the story of the deep and lasting transformation we experienced while in this season, A bit more personal than the first, this article explores our joy in celebration, pain with unknown bounds, and the lessons on liberation that we learned along this journey.

When summer started on 2021, I was transitioning out of a role outside of Fennigan’s Farms. My schedule consisted of my working all day, then doing paperwork, and designing in the evening. On the weekends, Fennigan’s Farms was installing garden beds for clients. Most clients have their gardens set up

by July, so we were about done with most buildings by midsummer. This allowed us to focus on larger projects dedicated to lot reclamations and total space re-designs.

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Through this work, I met other Black women and Non-binary folk who had their own farm dreams. We all had complimentary ideas about what we wanted to do in our communities, but we were all living out our own versions of the same situation. Before the summer got into full swing, I ended up leaving my other position. I was in an impossible situation because of what I was experiencing there and I needed to make a decision to stay or leave. It was hard to find out that we were all grappling with the same decision.

The choice was to stay, be subjected to the working conditions, but have money in the bank to seed your own freedom project and gain value skills, or go and figure something else out, and run the risk of losing everything just to survive.

"This is a decision I should have never had to make."

After a few months, it was clear to me that even the possibility of trying to survive on my own was likely to be better than the reality of staying.

This is a decision I should have never had to make. The history of labor in this country exploits us. It was founded in the exploitation of Black life. It did not surprise me that my body was becoming worn from all the work or that my personal schedule was suffering. What struck me was the lack of accountability within the spaces I was in and the subsequent disappointment. Black people have been physically, mentally, and spiritually removed from the land on purpose. Any return to the realization that we truly can never be fully spiritually disconnected from what keeps us in balance, is a step closer to our freedom. It was difficult to hear about and experience the ways we as young Black folks find ourselves exploited in the farm industry when we are there to learn, gain skills, and be innovative in the approach to climate change.

By the middle of the summer, many of my friends had left their farm jobs.

Some started new projects in collaboration with each other, some moved away in the name of self-care.

We all figured it out in our own way.

We all survived.

While I was transitioning, Claire was moving into a new role as well. For me, the experience was a painful reminder of why my sister Claire and I take this approach to liberation.

The patriarchy and other systems that work in tandem with it, uphold the larger system that keeps people away from land, food, and freedom. Our freedom movements, and deeper so our food-specific movements, cannot work in a hierarchy, and when we, in our own organizations begin to value profit and position over the health and freedom of our community, we become beacons of light for the very thing that was delicately designed to oppress us.

We both came to Fennigan’s Farms full time, and we began digging deeper into where we wanted to see our visions come to life. We started going to more pop-ups and talking to more people about what we could do. We were working like never before. People were seeing our mission and reaching out to us for programming,

Amanda Brezzell & Claire Austin

Fennigan's Farms Journal

designs, and building. One day a client reached out to us and we took on what became our largest garden project for the season.

Fennigan’s Farms was contracted to build over 100 feet of garden beds to support a homesteading family on Detroit’s Eastside.

We broke ground at the beginning of the fall, and on the first day on-site, we probably moved over 100 stones with just our four hands. Claire and I fashioned large slate stones into massive garden beds. Each stone was a solid six or more inches thick, one foot wide, and nearly three feet tall.

That day presented a challenge we bonded over because it highlighted for us the need we didn’t feel comfortable asking for. We needed more help.

We went back for part two, about two weeks later. In addition to the stone beds, we set up 90 feet of wooden, three-foottall beds. That day, while fashioning a third stone bed, a stone slipped out of my hand and I ended up almost completely severing my right index finger. I visited two emergency rooms that day, and within a week, I had surgery to reconstruct my crushed finger. I was done for the rest of the season. At that point, my role with Fennigan’s Farms, which had become the focal point of my life, had to change quickly and significantly.

In the midst of all of these changes, Fennigan’s Farms was offered the opportunity to transform several lots in one neighborhood in Detroit to create a community sustained agri-hood. In part one of this series, we talked about accepting this contract, but we had no idea how our lives would change just days after accepting.

We saw this as an opportunity to not only grow something sustainable for the community but showcase the kinds of larger projects we wanted to keep building to support more people. We signed the contracts, laid the designs, broke ground on one site, and then I soon after sustained the injury. I was devastated. It was explained to me over and over again that my hands and my livelihood would never be the same.

The disconnect I felt from my body and the Earth I would usually tend, was a pain I didn’t know I could or would ever experience to that extent. The initial pain of a nearly-severed finger and crushed hand, followed up by surgery, and rod removal was surely some of the worst pain I have ever been in. The emotional pain that came with not being able to work with the Earth or use my hands to work with my plants was a deep pain I cannot begin to describe. Because of the injury, much of the feeling has not returned to my hand. This means that the physical connection I foster with what I grow has to change. Though I have been adapting, the grief still comes in waves.

Fennigan's Farms Journal

My relationship with the Earth around me changed in so many ways so fast. Claire and I took several weeks off to keep healing and ground ourselves. In just four quick months, our entire lives had changed and it was a lot to take in. We had gone through so much, and we deserved the opportunity to work through it in a healthy way.

Because Claire’s role with Fennigan’s Farms changed, her life as a working mother was changing. She deeply values her time with her husband and child and I was wrapped in a cast. We sat down and decided we had to make this ever-growing business work in a way that was taking into account the rest we both needed.

We hired more hands and finished fall projects with the agri-hood as we anticipated the ground freezing up.

Because of history and our experience with farm labor, we used this as an opportunity to set a fair wage and precedent with the way we intend to continue to hire going forward. We expressed to new hires our mission, their roles in this work, and the gratitude we have for them. We honored their contributions by keeping a safe and healthy work environment and by paying only what we ourselves would accept for this work.

Just before it became too cold to plant, Fennigan’s Farms turned two and we celebrated by accepting a grant from the Detroit Black Farmer Land Fund (DBFLF).

This grant will assist us in acquiring our own farmland in the city of Detroit. In this way, we are able to make up for the projects we had to turn down when we centered our rest and recovery. It is because of this that we were able to stay on track in terms of finding a permanent space to grow food for the community.

We are very grateful to DBFLF and will not stop celebrating this win.

We walked through big moments of transformation and on the other side of them all, we found ourselves pushed into new life. Our lives through the summer, fall, and winter were punctuated by the ways we as young Black folk are asked to persevere through pain and put aside personal grief in order to show up. We are pushed and pulled to be one thing or another. The pressure to do more, be more, and achieve more is there and growing. We are taught to tie our worth to the work we do, and we become pushed beyond our own limits by systems that do not value our humanity.

Most of us really just want the opportunity to do something we love doing every day, thrive, and help those around us do the same.

Fennigan's Farms Journal

Because of our position in society, many of us feel out of place asking for support when we’ve reached our limit. Instead, we lift heavy stones and don’t ask for help, and don’t want to show others when this work has made us tired. This exploitation, disguised as perseverance and grit, we could no longer tolerate or perpetuate within the work we are doing. In our movement toward true self-sovereignty, we had unknowingly brought with us unrealistic expectations for our performance. The exploitation we experienced while collaborating and working within other community-centered projects was unexpected in experience and painful to detach from. The true losses to our liberation are perpetuated by this, and by the ways we neglect ourselves and each other for the sake of community freedom.

The Winter of 2021 is for rest and community outreach in the form of popups for clothing and food distribution. This year we truly expanded to new heights. In order to be able to keep bringing our visions to life, we are purposefully taking the time to allow ourselves more time to simply visualize and join with our community. In our work, we want to tell a larger story of true liberation that does bring with it pain. The kind of liberation that is free from arbitrary hierarchy, and centers the rest, and natural cycles we undergo as creatures connected to this Earth. Our connection to the land and the opportunities to care for it are spiritual for us. We take this work for liberation very seriously because we understand that life and humanity are on the line. We only thrive as our community thrives, and the thriving of our community depends on the fair representation of each

voice and the doing away with what ultimately exhausts us. With this in mind, we rest and make plans to go forward with more intention.

Fennigan’s Farms offers sustainable design in garden boxes, farms, and greenhouses, and refurbish and reclaim buildings and lots for growth across metro Detroit. We teach classes geared toward tending the Earth and believe that everyone person has a right to food.

We take our mission to put food on plates further, by offering pantry stocking and food growing services to families connected to Detroit Public Schools Community District. On the land we tend, we grow herbs, flowers, and free produce for community distribution and work with other community farmers to collaborate on ways to support those around us further. Amanda Brezzell (CEO of Fennigans farms) writes from Detroit, Michigan.

@FennigansFarms

Fennigan's Farms Journal

BLOSSOM

두부부침 Raw Korean Cold Tofu 순두부 간장양념 반찬 korean fried tofu

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I am a Korean who lives in Hong Kong with my Chinese Husband and our eight-year-old son. I love cooking meals with my son that I learned from my grandmother. I am an amigurumi designer and an aspiring children’s book author.

Recipes by Annie Lau

@annigurumi

For assistance and questions about the recipes, contact Annie at anniegurumi@gmail.com

KOREAN FRIED TOFU WITH SEASONING SAUCE

두부부침

This is a common home-style dish for many Koreans. Oftentimes the ingredients needed are always in our home. I remember being in the kitchen with my grandmother, she would fry the tofu as I helped make the sauce. These days, I fry the tofu as my son makes the sauce. Though she has passed away, her spirit lives through her stories and recipes.

RAW KOREAN COLD TOFU

순두부 간장양념 반찬

On most hot and humid summer days, this raw tofu dish was always at our table.

The sesame oil and soy sauce combination is common in most Korean dishes and the taste is satisfying. My breakfast often consisted of this on top of hot steamed rice. Now we eat it as an appetizer or a snack. My grandmother would make it without the red pepper flakes and green onions when I was a child, knowing I couldn’t handle the spice. Now I love the spice but I do find myself making the non-spicy version for our son.

Radicle Threads Magazine

KOREAN FRIED TOFU WITH SEASONING SAUCE

두부부침

Serves: 4 Course: Main Course Prep time: 10 minutes Cook time: 10 minutes Total time: 20 minutes Cuisine: South Korean.

Ingredients 1 12oz (340g) package of firm tofu ¼ Tsp of salt and pepper 1tbsp avocado oil For the sauce: 1 tsp of fresh, finely minced garlic 1 tsp of white and black sesame seeds ½ tsp of Korean red pepper flakes ( ) 1 tbsp mirin 1 tbsp roasted sesame oil 2 tbsp Korean or Japanese soy sauce 1 tbsp of thinly sliced scallion

고춧가루

INSTRUCTIONS 1. In a small bowl, mix the ingredients for the sauce together and set aside.

2. Rinse the tofu in water and pat dry with a paper towel.

3. Cut the tofu into ¼ inch thickness, cut the tofu evenly and you will have approximately 16 slices.

4. Sprinkle the tofu with salt and pepper on both sides and set aside.

5. In a frying pan, add the avocado oil over medium-high heat. Check with a wooden chopstick to see if oil is hot enough for frying. You will see bubbles forming on the chopstick if the oil is ready.

6. Carefully place tofu into the oil, fry both sides for 3-4 minutes or until tofu is golden brown on both sides.

7. Place tofu on a serving dish, pour the sauce over the tofu.

Notes You may use any cooking oil that is suitable for frying instead of avocado oil. You may omit the garlic and red pepper flakes if you do not like the taste of spicy foods. This tofu can be served hot, at room temperature, or even cold.

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RAW KOREAN COLD TOFU

순두부 간장양념 반찬

Serves: 1 Course: Appetizer Prep time: 15 minutes Cook time: 0 minutes Total time: 15 minutes Cuisine: South Korean.

Ingredients 5.29oz (150g) of extra soft tofu 1 tbsp of Korean or Japanese soy sauce 1/4 tsp of roasted sesame oil ½ tsp of Korean red pepper flakes ( ) ¼ tsp of mirin 1/2 tsp of roasted white and black sesame seeds 1 tbsp of thinly sliced scallions

가루

고춧

INSTRUCTIONS 1. Drain the tofu well and place onto a small plate.

2. Put the rest of the ingredients on top of the tofu.

3. Serve immediately.

Notes Any ingredients may be omitted to preference.

If you cannot find the single-serving packs of soft tofu, please use the softest tofu you can find. Drain the tofu and pat dry. Slice them into single servings squares of approximately 150g each.

For a non-spicy version please omit the red pepper flakes and scallions.

Sesame seeds do not need to be dual-colored, you may use one color if that is all you have on hand.

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HABICHUELAS ROJAS GUISADAS CON ARROZ Red Beans and Rice Serves: 8 Prep Time: 15-30 minutes Cook Time: 25-30 minutes Total time: 45-60 minutes, excluding soaking overnight Cuisine: Dominican, Caribbean Course: Main Course Habichuelas guisadas con arroz is one of my favorite dishes. Growing up in the United States as a first generation Dominican-American meant engrossing myself in my Dominican culture through food, music, and language. It wasn’t until I began spending my summers in the Dominican Republic that I understood the true warmth of Dominican cooking. Red beans and rice were a daily staple for my family at lunchtime. Such a dense dish was reserved for the afternoon where you could eat slowly, savoring every bite, and then take a siesta because everyone’s job was closed from noon to 4 pm. This dish reminds me of home and a way of gathering that values leisurely meals and family time.

I am a self taught fiber artist, who’s heritage hails from the Dominican Republic. My love of fiber art started as a teenager. I dabble in weaving, knitting, crocheting, and sewing.

When I am not crafting, working or volunteering, I love to drink tea, bake, or embrace the outdoors with my family.

By Katiusca Guzman @betweenthesestitches

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Ingredients For the White Rice 4 Cups of white long grain rice 1-2 tsp of salt 5 cups of water 2 tbsp of olive oil For the Red Beans 4 cups of small red beans 2 small garlic cloves, mashed 1/2 large Spanish Onion, chopped into quarters 1/2 mixed bell pepper, chopped 1/4 bunch of fresh cilantro, de-stemmed 1/4 bunch of culantro 1/4 bunch of fresh oregano, de-stemmed, or 1 tbsp of dried oregano 1/4 bunch of fresh thyme, de-stemmed, or 1 tsp of dried thyme 2 tsp of salt 2 oz or 1/4 cup of tomato sauce 2 tbsp of white vinegar 2 tbsp of olive oil 6 cups of water

INSTRUCTIONS 1. Soak red beans overnight in a large bowl making sure to cover the beans with water. If you soak the beans overnight, rinse the beans with clean water. If you have a pressure cooker, pressure cook the beans for 25 minutes.

2. While the beans are soaking or being pressure cooked, start the rice. For the rice, take 5 cups of water, 2 tbsp of olive oil and 2 tsps of salt and place it in a deep pot with a lid. Place on the stove on medium to high heat and allow the water to boil. If you have a rice cooker, place all of the rice ingredients in the rice cooker and use the White Rice button function on your rice cooker to cook the rice.

3. While the water for the rice boils, wash the fresh herbs and peel the onions and garlic. Cut the onions into quarters. De-stem the oregano and thyme by removing the leaves.

4. Place the fresh ingredients (garlic, onion, herbs, and vinegar) in a food processor and pulse a few times to break up the vegetables. Combine until you get a thick paste.

5. If you use the stove top method for rice, when rice for the water boils, place the 4 cups of the rice, 2 tbsp of olive oil and 2 tsps of salt into the water. Lower the heat to medium. Allow the water to evaporate while occasionally stirring the rice. When the water has almost evaporated, stir the rice, turn down the heat from medium to low, and place the lid on the rice. Allow the rice to cook for 25-30 minutes.

6. After the beans have soaked overnight or finished being pressure cooked, place 2 tbsp of olive oil in the stock pot over medium heat. Allow the oil to heat up. Place the herbed paste into the pot and sauté 3-4 minutes or until fragrant. If you did not make a paste, sauté the fresh vegetables now for the same amount of time. Once the paste has sautéed add the tomato sauce and sauté for another 3-4 minutes. Remove any larger chunks of vegetables or herbs at this time. Next, add the 6 cups of water and the beans. Allow the beans to cook on low to medium heat for about 25-30 minutes. Add 1-2 tsp of salt after that time. Taste your beans and add more salt, if desired.

7. Check the rice by opening the lid and mixing the rice. The rice should be soft and plump.

Use a large spoon to fluff it up.

8. Check the beans. The beans should have a smooth sauce and the beans should be soft.

9. Plate 1/4-1/2 cup of rice and add 1/-8 to 1/4 cup of beans on top. And enjoy!

POULET À LA MWAMBE

My name is Marta Simonini. I’m a 44 year old wife and mother of four. My origin is Congolese, Italian, and Belgian. I currently reside in Brussels, Belgium where I’m a palliative care nurse. To alleviate the emotional pressure I encounter at my work, I enjoy cooking meals, especially the recipes of my childhood like the one I’m sharing with you today.

by Marta Simonini

@marta.simonini

Poulet à la Mwambe is not only a national dish in Congo, but most importantly it is a mothers’ cuisine that helps us to remember who we are and where we come from. In our culture, this meal is eaten mostly on special occasions because chicken is considered to be expensive and sacred nourishment which serves to be predominantly devoured when people have something important to celebrate.

Personally, this dish reminds me of my early childhood in Zaire, now called the Democratic Republic of Congo, where my family and I had the pleasure to relish this meal which was meant to be picked up with fingers and eaten. It was the only time that I was not yelled at by my parents, which added a special taste of pleasure and love to the dish.

Serves: 4 - 6 Prep time: 30 minutes Cook time: 30 minutes Total time: 60 minutes Cuisine: Congolese Course: Main Course Ingredients 1 chicken stock cube 5 tbsp sunflower oil 8.8oz (250g) natural peanut butter 7.05oz (200g) palm nut concentrate (Trofai Brand if possible) 1 medium onion diced 2 cloves of garlic, pressed 1 chicken to boil (1.5-2 kg/3.5-4.5lbs) 1 stock of celery with leaf 2 spring onions 1 tsp of salt

1 cup (237ml/8oz) water 1 tsp red pepper flakes 1 tsp black pepper 6 oz (170g) can of tomato paste 14.5oz (411g) can of diced tomatoes 1 in (2.5mm) ginger root, grated 1 tbsp chicken seasoning (Found in the pre-made spice area of your grocery store)

Note: The chicken will produce water that will evaporate during cooking and oil will remain which has to be used to fry the chicken so that the sauce doesn’t become greasy. Stir the sauce continuously as not to burn the bottom

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INSTRUCTIONS For the chicken 1. Wash and cut the chicken into small pieces and put it in a large pot and add 1/2 cup of water.

2. Chop onion, garlic, celery, spring onion and tomatoes. Add this to the chicken pot.

3. Season with salt, pepper, chicken stock cube and chicken spice.

4. Cover and simmer over medium heat for 30 to 45 minutes and stir occasionally.

5. There will be some oil left over from the chicken so start frying the chicken with the same oil and in the same pan until golden brown.

6. In a bowl, mix 1/2 can of palm nuts concentrate with 200 ml of hot water and add this mixture to the chicken and simmer on low heat for 15 minutes.

For the sauce 1. Put 5 tablespoons of sunflower oil in a pan and let it heat up, add the tomato, onion, and salt to the pan, cooking and stirring for 3-5 minutes.

2. Add peanut butter, salt, pepper, ginger and stir and cook for 2 minutes on medium heat.

3. Consequently, add this preparation to the pan with the chicken and mix it with 500 ml of warm water. Taste the mixture and adjust the seasoning if necessary.

4. Let the saucepan simmer on medium heat while stirring remove the pan from the heat and let rest for 20 minutes before serving.

Notes: Serve with white or brown rice.

Kosambari

Coming from an Indian family, I learned at a very young age from my extended family, the importance of a traditional, healthy home-cooked meal. My single most important job is cooking, putting my heart into every meal to keep my family healthy.

As I am growing older, I am taking more and more interest in crafting and have for some years now been designing and selling knitwear patterns. Through knitting, I have found a place where my creative energy can grow and thrive.

@k_nitvana

by Uma Padu

Kosambari is a lentil salad from India. In Indian mythology, it was made in celebration of Lord Rama’s victory in battle over his adversary, King Ravana.

On Lord Rama’s birthday, Kosambari is first offered to the Lord before being eaten. It is a nutritious and delicious blend of sour, savory, and spicy flavors. I love to make this refreshing salad during the summer months as it is easy to prepare and served chilled. It tastes best when served on a banana leaf accompanied by other traditional South Indian dishes, such as rice, sambar, rassam, and other vegetables.

Serves: 2 Prep time: 15 minutes Cook time: 15 minutes Total time: 30 minutes Cuisine: Indian, Southern Course: Main Course Ingredients ½ cup Whole Green Gram sprouted ½ cup Split Skinless Green Gram Dal soaked ½ cup Carrots grated (In various colors if possible) ½ cup Cucumber finely chopped 1 tsp Raw Green Mango grated (if available) ¼ - ½ cup Raw Unsweetened Coconut shredded 1 Lemon juiced 2 tbsp Peanuts lightly roasted Salt to taste

For Tempering 1 tsp Olive Oil ½ tsp Mustard Seeds ½ tsp Split black lentils 2 Green Chillies slit 1 tsp Ginger grated Curry Leaves Cilantro Leaves 1 pinch Asafoetida ¼ to ½ tsp roasted powdered Fenugreek

and

INSTRUCTIONS 1. Soak Whole Green Gram overnight. Drain all the water and wrap them in a cheesecloth keep aside in a warm place to sprout. Note: Give at least 24 hours for it to sprout.

2. Wash and soak Green Gram Dal for an hour and drain.

3. Add sprouted Green Gram, Green Gram Dal, grated Carrots, finely chopped Cucumber, grated Raw Green Mango, and salt to large bowl.

4. If using Raw Green Mango, use less lemon juice. Mix then add roasted Peanuts and shredded Coconut.

5. Heat a tsp of olive oil in a small pan, add mustard seeds, and split black lentils.

When the mustard seeds splutter and the lentils turn brown, turn off the flame.

6. Add slit green chilies, one sprig of curry leaves, a pinch of asafoetida, and a little bit of fenugreek powder to enhance flavor, pour into a bowl, and mix well.

7. Garnish with chopped fresh cilantro. Refrigerate. Serve chilled.

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Mango-Peach Refresher I am Prital Mehta. Recipe developer & food photographer for my Instagram food blog called MasalaOnMyMind. I can say I have been lucky enough to see the best of both worlds. Born in India and moved to the US after spending the first decade of my life in India. Those fond memories of Indian summers and celebrating summer vacations still live within me. My friends think of me as a foodie Pharmacist who is obsessed with bringing the flavors of the East and blending them with the West.

I try to relive my childhood memories by incorporating mangoes in many of my summer time dishes. This drink is one of those recipes.

A cooling & flavorful drink that is slightly sweet, slightly spicy & very refreshing. It features mangoes & peaches infused with the freshness of ginger & mint.

@masalaonmymind

by Prital Mehta

Serves: 2 Prep time: 5 minutes Total time: 10 minutes Cuisine: Indian-American Course: Breverage Ingredients 1/4 cup fresh mango diced 1/4 cup fresh peach diced 2 tsp grated ginger 1 tsp salt 2 tsp sugar 24 oz of chilled ginger ale 8 fresh mint leaves + more for garnish (garnish optional) Special tool: A muddler or a large spoon to mash INSTRUCTIONS 1. In a pitcher, muddle the mint leaves with salt, sugar, & ginger.

2. Add the mango & peach chunks. Muddle again till the fruit pieces are smashed well.

3. Add ginger ale.

4. Pour into glasses & garnish with mint leaves.

Enjoy!

Notes: Fresh mango & peach can be substituted with frozen ones. Ginger ale can be substituted with plain soda . Can substitute honey or agave nectar for sugar Garnishing drinks with mint leaves is optional.

Page 64

Gul Top pg. 69

Bloom Top pg. 72

Blooming Lace Shawl pg. 75

Marisol Tank pg. 78

Butterfly Dudou pg. 82

POD Gul Top

by Chandana Kiran @naughty_knotz Dyers Diana Gee & Jacqui HudsonUnderwood @oppositecoastdyes

FINISHED MEASUREMENTS Finished chest: 30 (33.5, 36.5, 41.5, 45, 50, 53.5, 56.5, 61.5)”/76 (85, 92.5, 105.5, 114.5, 127, 136, 143.5, 156) cm Finished length: 18.25 (18.25, 18.5, 18.75, 21.75, 22.25, 22.75, 26, 26.5)”/46.5 (46.5, 47, 47.5, 55, 56.5, 58, 66, 67.5) cm

YARN

Opposite Coast Dyes. Fingering weight, NonSuperwash Merino, 100g/420m/459yds.

MC- 2 (3,3,4,4,4) 4 skeins Woodside Avenue; CC- 1 (2,2,2,2,2) 2 skeins Northern Boulevard

HOOKS

US G (3. 5mm) Crochet hook or size needed to obtain gauge

NOTIONS

Yarn Needle, Stitch Markers , Scissors

For pattern support, contact Chandana at chandanakiran@gmail.com Gul in Persian means flower or rose, the inspiration of the design comes from Persian designs and walls that are seen in the ancient forts in Jaipur and across Rajasthan. The Persian designs were brought to India by the Moghuls who invaded India a long time ago. Persian impressions of art have influenced India in architecture, pottery, fabric prints etc.

The Gul Top is an intermediate crochet spring & summer top, worked bottom-up, in the round alternating 2 colors using the overlay technique

GAUGE

24 sts x 14 rows = 4” over Double Crochet, blocked Notes: The Gul top has positive ease of 2 inches and is divided into 4 sections, Body, Front Yoke, Back Yoke, Sleeves. The pattern is worked in the round until the split for sleeves and worked in row to make the front and back yoke. Then it is worked in the round up to the armhole and split at yoke, and sleeves. Sc and chain 2 at the beginning of each row/round counts as Dc. Stitch is worked in multiples of 10.

Special Stitches 3-Loop St - Ch 10, Sl st in same st (1st loop made), Ch 12, Sl st in same st (2nd loop made), Ch 10, Sl st in same st (3rd loop made)

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DIRECTIONS

Body With MC, Ch 180 (200, 220, 250, 270, 300, 320, 340, 370). Join with Sl st in first ch to work in the Round.

Round 1: Ch 3 (counts as Dc throughout), Dc around, join with Sl st to 3rd of beg ch. 180 (200, 220, 250, 270, 300, 320, 340, 370) sts Round 2 : Ch 3, Dc around, join with Sl st to 3rd of beg ch.

Round 3 : Join CC in Sl st, Ch 1 (does not count as st throughout), Sc blo in first st, Sc blo in next 8 stitches, *3-Loop st (See Special Stitches) in next st , Sc blo in the next 9 stitches; repeat from * to last st , Sc blo in the st, join with Sl st in beg ch.

Round 4 : With MC, Ch 1, Dc flo in first st, Dc flo in the next 8 sts, *Ch 1, sk 1 st (corresponds to 3-Loop st from prev Round), Dc flo in the next 9 stitches; repeat from * to last st, Dc flo in next st, join with Sl st in beg ch.

Round 5: With MC, Ch 3, Dc around , join with Sl st in beg ch.

Round 6: With CC, Ch 1, Sc blo in first st, Sc blo in the next 6 sts , *Hdc in next st along with the 1st loop from 3-Loop St from Round 3, Sc blo in the next 3 sts, Hdc in next st along with the 3rd loop from 3-Loop St from Round 3, Sc blo in the next 5 sts; repeat from * to last 3 sts, Sc blo in next 3 sts, join with Sl st in beg ch.

Round 7: With MC, Ch 1, Dc flo around, join with Sl st in beg ch.

Round 8: With CC, Ch 1, Sc blo in first st, Sc blo in the next 8 sts, *Hdc blo in next st along with 2nd loop from 3-Loop St from Round 3, Sc blo in next 9 sts; repeat from * to last st, Sc blo in last st, join with Sl st in beg ch.

Round 9: With MC, Ch 1, Dc flo around, join with Sl st in beg ch.

Round 10: With MC, Ch 3, Dc around, join with Sl st in beg ch.

Round 11: With MC, Ch 3, Dc around, join with Sl st in beg ch.

Round 12: With CC, Ch 1, Sc blo in first st, Sc blo in the next 2 sts, *3-Loop St in next st, Sc blo in next 9 sts; repeat from * to last 7 sts, 3-Loop St in next st, Sc blo in next 6 sts, join with Sl st in beg ch.

Round 13 : With MC, Ch 1, Dc flo in first st, Dc flo in next 2 sts , *Ch 1, sk 1 st (corresponds to 3-Loop St from prev Round), Dc flo in the next 9 sts,; repeat from * to last 7 sts, Ch 1, sk 1 st, Dc flo in next 6 sts, join with Sl st in beg ch.

Round 14: With MC, Ch 3, Dc around, join with Sl st to beg ch.

Round 15: With CC, Ch 1, *Sc blo in first st, Hdc in next st along with 1st loop of 3-Loop St from Round 12, Sc blo in next 3 sts, Hdc in next st along with the 3rd loop of 3-Loop St from Round 12, Sc blo in the next 4 stitches; repeat from * to end, join with Sl st in beg ch.

Round 16: With MC, Ch 1, Dc flo around, join with Sl st in beg ch.

Round 17: With CC, Ch 1, Sc blo in first st, Sc blo in the next 2 sts, *Hdc in next st along with the 2nd loop of 3-Loop St from Round 12, Sc blo in next 9 sts; repeat from * to last 7 sts, * Hdc in next st along with the 2nd loop of 3-Loop St from Round 12, Sc blo in next 6 sts, join with Sl st in beg ch.

Round 18: With MC, Ch1, Dc flo across, join with Sl st in beg ch.

Sizes 30, 33.5, 36.5 and 41.5” only Work Rows 1 – 18 once more.

Sizes 45, 50 and 53.5” only Work Rows 1 to 18 once more. Repeat Rows 1 to 9 once more.

Sizes 56.5 and 61.5 only Work Rows 1 to 18 two more times.

Front Begin working in Rows (See Notes) over first 90 (100, 110, 125, 135, 150, 160, 170, 185) sts for Front. Place remaining sts on hold for Back.

Sizes 30, 33.5, 36.5, 41.5, 56.5 and 61.5” only Work Rows 1 to 9 once.

Sizes 45, 50 and 53.5” only Work Rows 10 to 18 once.

Left Front Row 1: Ch 3, Dc in next 11 (16, 21, 28, 33, 40, 45, 50, 57) sts, turn. 12 (17, 22, 29, 34, 41, 46, 51, 58) sts Row 2: Ch 3, Dc in each st to end.

Rep Row 2, 19 (19, 21, 23, 24, 26, 26, 28, 30) more times. Fasten off.

Right Front With WS facing, join MC at right end of Front.

Row 1: Ch 3, Dc in next 11 (16, 21, 28, 33, 40, 45, 50, 57) sts, turn. 12 (17, 22, 29, 34, 41, 46, 51, 58) sts Row 2: Ch 3, Dc in each st to end.

Rep Row 2, 19 (19, 21, 23, 24, 26, 26, 28, 30) more times. Break yarn.

Back Work same as for Front Join front and back pieces together.

Sleeves (Make 2) With MC, Ch 99 (99, 105,111,117,123,127, 135, 135).

Row 1: Dc in 3rd ch from hook, Dc across, turn. 97 (97, 103, 109, 115, 121, 133, 133) sts Repeat Row 1, 19 (19, 19, 23, 23, 23, 26, 26, 26 ) more times.

Working on the WS using the whip stitch method, attach the sleeves to the finished piece by

*picking up 1 stitch from the body for every 2 sts on the sleeve*. Repeat from*to* 10 times. Pick up 1 stitch from both sleeve and body for remainder of sts. Join both open sides of sleeves together.

Using MC and tapestry needle, thread yarn through the back loops of stitches along the lower free edge of the sleeve. Tighten to pucker this edge and tie a knot. Fasten off.

FINISHING Weave in ends, wash and block to size.

Working on the WS using the whip stitch method, attach the sleeves to the finished piece by *picking up 1 stitch from the body for every 2 sts on the sleeve*. Repeat from*to* 10 times. Pick up 1 stitch from both sleeve and body for remainder of sts.

Bloom Top

by Clarisabeth Lopez Rodriguez @crochetcakes Dyer Corinne Hawari @hawaribazaaryarnco

FINISHED MEASUREMENTS

Chest: 30.5 (33.25, 36, 40, 44, 48, 52, 57.25, 60, 65.25)” / 77.5 (84.5, 91.5, 101.5, 111.5, 122, 132, 145.5, 152.5, 166)cm Waist: 25.25 (25.25, 28, 32, 36, 40, 44, 46.5, 49.25, 52]” / 64 (64, 71, 81.5, 91.5, 101.5, 111.5, 118, 125, 132)cm Length: 19 (19, 19, 20.5, 20.5, 21, 21, 21, 22, 22]” / 48.25 (48.25, 48.25, 52, 52, 53.5, 53.5, 53.5, 56, 56)cm Armhole Depth: 6.5 (7, 7.5, 7.5, 8.5, 9, 9, 9.5, 9.5, 10) / 16.5 (18, 19, 19, 21.5, 23, 23, 24, 24, 25.5)cm Neckline: 8.5 (8.5, 8.5, 9.25, 10, 9.25, 10, 10, 11.25, 11.25) / 21.5 (21.5, 21.5, 23.5, 25.5, 23.5, 25.5, 25.5, 28.5, 28.25)cm Shoulder: 3.5 (4, 4.5, 5.25, 6, 7.5, 8, 9.5, 9.5, 10.5) / 9 (10, 11.5, 13.5, 15, 19, 20.5, 24, 24, 25.5)cm

HOOKS

US (3mm) Crochet hook or size needed to obtain gauge

YARN

Hawari Bazaar. Fingering weight, 100% Italian Cotton, 100g/424m/464yds. MC 2(2, 2, 2, 2, 2) 3(3, 3, 3, 3) skeins in Sprout, CC 1 skein in Zibdeh

NOTIONS

Yarn Needle, Scissors, Embroidery floss or yarn, Stitch Makers

GAUGE

6 (Sc, 2 Dc) groups [18 stitches] x 11 rows = 4x4” in Falling Leaves stitch after blocking

For pattern support, contact Clarisabeth at crochetcakespodcast@gmail.com Spring is the season of rebirth. The roots awaken, the leaves grow and the flowers bloom.

From the rib stitch to the embroidered flowers, the Bloom Top is a visual representation of this cycle.

The Bloom top is an intermediate crochet lace top, worked bottom-up in two panels. The top features a front post/back post rib, increases and embroidery detail on the neckline.

Notes: Beginning Ch3 counts as a double crochet. Ch1 does not count as a stitch. The main pattern stitch is the Falling Leaves stitch composed of (Sc,2 Dc) in the same stitch.

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Special Stitches: Falling Leaves Stitch (worked flat over multiples of 3+1) Setup Row: Foundation double crochet in multiples of 3+1 Row 1 : Ch 1 (does not count as SC throughout), (Sc, 2 Dc) in 1st st, sk 2 sts, *(Sc, 2 Dc), in next st, sk 2 sts; repeat from * to last st, SC in last st, turn.

Row 2: Ch1, *(Sc, 2 Dc) in SC, sk 2 Dc; repeat from * to last st, Sc in last Sc, turn.

Repeat Row 2 for pattern.

DIRECTIONS Front Setup Row: 58( 58, 64, 73, 82) 91(100, 106, 112, 118) Fdc, turn.

Row 1: Ch 3 (counts as Dc throughout), *FPdc in next st, BPdc in next st; repeat from * to last st, Dc in last st, turn. 58( 58, 64, 73, 82) 91(100, 106, 112, 118) sts.

Row 2: Ch 3, *BPdc in next st, FPdc in next st; repeat from * to last st, Dc in last st, turn.

Rows 3 to 6: Repeat Rows 1-2 two more times.

Row 7 (RS): Ch 1 (Sc, 2 Dc) in 1st st, sk 2 sts, *(Sc, 2 Dc) in next st, sk 2 sts,** repeat from *to** to last st, SC in last SC, turn. 19 (19, 21, 24, 27, 30, 33, 35, 37, 39) groups of (Sc, 2 Dc) and 1 Sc. Row 8: Ch 1, *(Sc, 2 Dc) in SC, sk 2 Dc,** repeat from *to** to last st, Sc in last SC, turn. 19( 19, 21, 24, 27) 30( 33, 35, 37, 39) groups of (Sc, 2 Dc) and 1 SC. Rep last row 14 (14, 14, 14, 14, 14, 14, 12, 12, 12) more times.

Inc Row: Ch 1, [(Sc, 2 Dc) in Sc, sk 2 Dc] twice, (Sc, 2 Dc) in next Dc, sk next Dc, *(Sc, 2 Dc) in next Sc, sk 2 Dc,** rep from * to ** until 2 (Sc, 2 Dc) groups rem, (Sc, 2 Dc) in next Dc, sk next Dc, (Sc, 2 Dc) in Sc, Sc in last Sc, turn. 2 (Sc, 2 Dc) groups increased. 21 (21, 23, 26, 29, 32, 35, 37, 39, 41) groups and 1 Sc.

Next Row: Ch1, *(Sc, 2 Dc) in SC, sk 2 Dc,** repeat from *to** to last st, Sc in last Sc, turn.

Repeat last 2 rows 1 (2, 2, 2, 2, 2, 2, 3, 3, 4) more times. 23(25, 27, 30, 33, 36, 39, 43, 45, 49) (Sc, 2 Dc) groups. *** Work Row 8 until a total of 46 (46, 46, 50, 50, 52, 52, 52, 54, 54) rows have been worked, turn.

Neck Shaping and Front Left Row 1(RS): Ch1, (Sc, 2 Dc) 6 (7, 8, 9, 10, 12, 13, 15, 15, 17) times, Sc in next Sc, turn. 6 (7, 8, 9, 10, 12, 13, 15, 15, 17) groups and 1 Sc. Row 2: Sk Sc, sl st in next 2 sts, *(Sc, 2 Dc) in Sc** Repeat from *to** to last st. Sc in last Sc, turn. 5 (6, 7, 8, 9, 11, 12, 14, 14, 16) groups and 1 Sc. Row 3: Ch1, *(Sc, 2 Dc) in Sc, ** Repeat from *to** last st. Sc in last Sc, turn.

Repeat Row 3 three more times. Fasten off.

Front Right With wrong side facing, join yarn to the first stitch on right hand side.

Row 1 (WS): (Sc, 2 Dc) 6 (7, 8, 9, 10) 12(13, 15, 15, 17) times, Sc in the next Sc, turn. 6 (7, 8, 9, 10, 12, 13, 15, 15, 17) groups and 1 Sc. Row 2: Sk Sc, sl st in next 2 sts. *(Sc, 2 Dc) in Sc** Repeat from *to** last st. Sc in last SC, turn. 5(6, 7, 8, 9, 11, 12, 14, 14, 16) groups and 1 SC. Row 3: Ch1, *(Sc, 2 Dc) in Sc** Repeat from *to** last st, Sc in last Sc, turn.

Repeat Row 3 three more times. Fasten off.

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Back Work same as front until ***.

Work Row 8 until a total of 52(52, 52, 56, 56) 58(58, 58, 60, 60) have been completed.

Fasten off.

FINISHING Weave in ends. Block to finished measurements. With right sides facing each other, join Front and Back at shoulders. Seam sides 6.5(7, 7.5, 7.5, 8.5, 9, 9, 9.5, 9.5, 10)” for armholes.

Embroidery With CC, embroider 7 to 9 flowers using the Lazy Daisy stitch along the front neck.

Lazy Daisy Stitch Cut a length of yarn twice the distance from your finger to your elbow and use this to start the embroidery.

Thread yarn through your needle and from the back pull through the front of the work leaving a tail at the back to secure.

With your yarn in front, form a loop, hold loop with your fingers, insert needle into what will be the flower center, pull through gently until you reach the bottom of the loop, pull needle through and over the top loop to secure your petal.

Repeat 5 times to form a daisy. You should have a total of 6 petals.

Complete 7 large flowers or as many smaller ones as you like. Weave in all ends.

Blooming Lace Shawl

by Pamela Kuloba @pamscozycorner1 Dyer Lauren Brien-Wooster @valkyrie_fibers

FINISHED MEASUREMENTS

Wingspan: 82 inches Depth: 31.5 inches

YARN

Valkyrie Fibers. Fingering weight, 75% Superwash Merino 25% nylon; 100g/423meters/463 yards. MC: 2 skeins/783 yds Middle Earth There Back Again, CC1: 1 skein/429 yds Middle Earth Anduin, CC2: 1 skein/79 yds Undomiel

HOOKS

US G (4.00mm) crochet hook or size needed to obtain gauge

NOTIONS

Yarn Needle, Scissors, Measuring Tape

GAUGE

For pattern support, contact Pamela at pamscozycorner@gmail.com

14 Chain Loops x 7 rows = 4” over Chain 5 Loop, after blocking.

7 Chain Loops x 10 rows = 4” over Chain 7 Loop, after blocking.

4 blocks/meshes x 10 rows = 4” over Filet Pattern, after blocking.

The Blooming Lace Shawl reminds me of my childhood in a small village in Kenya on an early spring morning with flowers blooming and the rays of the sun falling on them as the sweet aroma fills the air.

The Blooming Lace Shawl is an intermediate crochet shawl worked in semicircular rows.

The top part is worked in chains while the filet part is worked in double crochet and chains.

Notes: Chain 3 at the beginning of row counts as Dc throughout. Chain 6 at the beginning of the row counts as Dc and Ch 3. The rows with Loop stitches are worked by alternating by MC and CC1 every other row. Each row is worked with one color of yarn and instead of turning the work at the end of the row, the next row is worked with the second color starting at the beginning of the previous row. The work is then turned and 2 WS rows worked with each color. In this part of the pattern, the color to be used and RS/WS are mentioned at the beginning of every row. Stitches are increased within the pattern.

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Special Stiches Lp 5 - Sc in next st or lp, ch 5, Sc in same st or lp Lp 7 - Sc in next st or lp, ch 7, Sc in same st or lp V-st - (Dc, ch 3, Dc) in same st Mesh - Dc in next st, ch 3, sk next 2 sts or 3-ch sp Block - (Dc in next 3 sts) OR (Dc in next st, 2 Dc in 3-ch sp) DIRECTIONS Body With CC2, make MR. Row 1 (RS): Ch 3, 8 Dc in magic ring, turn. (9 sts).

Row 2 (WS): Ch 3, V-st in next 3 sts, Dc in next st, V-st in next 3 sts, Dc in last st, turn. (15 sts and 6 sps).

Row 3: Join CC1, Ch 3, (Dc in next st, sk ch-sp, V-st in next st) 3 times, (Dc in next st, V-st in next st, sk ch-sp) 3 times, Dc in last 2 sts, turn. (21 sts and 6 sps).

Row 4: Ch 3, Dc in each st across. turn.

Row 5 (CC1, RS): Ch 5, sl st in same place as ch 5 (Lp made), *sl st in next st, Ch 5, sl st in same st,** repeat from * to ** across. (21 Lps). Do not turn.

Leave the yarn hanging and join MC at the beginning of the row just finished.

Row 6 (MC, RS): Lp 5 in each Lp across,turn.

Row 7 (CC1, WS): Lp 5 in each Lp across. Do not turn. Leave CC1 and go back to use MC. Rows 8-9: Repeat Rows 6 & 7.

Row 10 (MC, RS): Lp 5 in first Lp, *2 Lp 5 in next Lp, Lp 5 each in next 2 Lps.** Repeat from * to ** to last 2 Lps, 2 Lp 5 in next Lp, Lp 5 in last Lp, turn. (28 Lps).

Row 11 (CC1, WS): Lp 5 in each Lp across.

Rows 12-15: Rep Rows 6 and 7.

Row 16 (MC, WS): Lp 7 in first Lp, 2 Lp 7 in next Lp, *2 Lp 7 in next Lp, Lp 7 each in next 2 Lps.** Repeat from * across to last 2 Lps, 2 Lp 7 in last 2 Lps, turn. (39 Lps).

Row 17 (CC1, RS): Lp 7 in each Lp across.

Row 18 (MC, RS): Lp 7 in each Lp across, turn.

Row 19 (CC1, WS): Lp 7 in each Lp across.

Rows 20-21: Repeat Rows 18 & 19.

Row 22 (MC, RS): Lp 7 in first Lp, *2 Lp 7 in next Lp, Lp 7 each in next 2 Lps.** Repeat from * to ** to last 2 Lps, 2 Lp 7 in next Lp, Lp 7 in last Lp, turn. (52 Lps).

Row 23 (CC1, WS): Lp 7 in each Lp across, turn.

Row 24-29: Repeat Rows 18 & 19.

Row 30 (MC, RS): Lp 7 in first Lp and next 2 Lps, *2 Lp 7 in next Lp, 7 Lp each in next 2 Lps.** Repeat from * to ** to last Lp, Lp 7 in last Lp, turn. (68 Lps).

Row 31 (CC1, WS): Lp 7 in each Lp across.

Rows 32-37: Repeat Rows 18 & 19.

Rows 38-39 (CC2): Join CC2, Lp 7 in each Lp across, turn Rows 40-41: Repeat Rows 18 & 19.

Row 42 (MC, RS): Lp 7 in first 2 Lps, *2 Lp 7 in next Lp, Lp 7 each in next 2 Lps.** Repeat from *to**across to end. (90).

Row 43 (CC1, WS): Lp 7 in each Lp across.

Turn Filet (Use MC) Row 44: Ch 6 (counts as a Dc and Ch 3), Dc in next Lp, *Ch 3, Dc in next Lp.** Rep from * to ** across, turn.

Row 45: Ch 6, 7 M, (*3 B, 3 M, 2 B,** 20 M) 2 times, rep from * to **once, 16 M, Dc in turning ch, turn.

Row 46: Ch 6, sk ch-3 sp, 12 M, (*6 B, 1 M, 6 B,** 15 M) 2 times, then rep from * to ** once, 7 M, Dc in turning ch, turn.

Row 47: Ch 6, sk ch-3 sp, 6 Mes, (*6 B, 1 M, 6 B,** 15 M) 2 times, then rep from * to ** once, 13 M, Dc in turning ch, turn.

Row 48: Ch 6, sk ch-3 sp, 11 M, (*6 B, 1 M, 1 B, 2 M, 5 B,** 13 M) 2 times, then rep from * to ** once, 6 M, Dc in turning ch, turn.

Row 49: Ch 6, sk ch-3 sp, 5 M, (*3 B, 2 M, 2 B, 1 M, 1 B, 1 M, 5 B,** 13 M) 2 times, rep from * to ** once, 12 M, Dc in turning ch, turn.

Row 50: Ch 6, sk ch-3 sp, 11 M, (*4 B, 1 M, 2 B, (1 M, 1 B) 3 times,** 15 M) 2 times, rep from * to ** once, 8 M, Dc in turning ch, turn Row 51: Ch 6, sk ch-3 sp, 5 M, (*2 B, 1 M, 1 B, 2 M, 1 B, 1 M, 2 B, 1 M, 4 B, 1 M, 1 B,** 11 M) 2 times, rep from * to ** once, 10 M, Dc in turning ch, turn.

Row 52: Ch 6, sk ch-3 sp, 8 M, (*1 B, 7 M, 2 B, 1 M, 2 B, 3 M, 3 B,** 9 M) 2 times, rep from * to ** once, 5 M, Dc in turning ch, turn.

Row 53: Ch 6, sk ch-3 sp, 4 M, ([3 B, 1 M] 3 times, 2 B, 3 M, 2 B, 9 M) 3 times, Dc in turning ch, turn.

Row 54 (Inc Row): Ch 6, sk ch-3 sp, 2 M, (V-st in next st, ch 3, sk ch-3 sp, 2 M) 2 times, (*2 B, 2 M, 4 B, 1 M, 3 B, 3 M, 4 B,** (ch 3, sk ch-3 sp, 2 M, V- st in next st) 2 times, ch 3, sk ch-3 sp, 2 M) 2 times, rep from * to ** once, ch 3, sk ch-3 sp, 2 M, V-st in next st, ch 3, sk ch sp, 2 M, Dc in turning ch, turn.

Row 55: Ch 6, sk ch-3 sp, 5 M, (3 B, 1 M, 6 B, 1 M, 4 B, 1 M, 3 B, 11 M) 3 times, Dc in turning ch, turn.

Row 56: Ch 6, sk ch-3 sp, 11 M, (*2 B, 1 M, 5 B, 1 M, 4 B, 1 M, 3 B,** 13 M) 2 times, rep from * to ** once, 7 M, Dc in turning ch, turn.

Row 57: Ch 6, sk ch-3 sp, 8 M, (*2 B, 4 M, 8 B,** 16 M) 2 times, then rep from * to ** once, 13 M, Dc in turning ch, turn.

Row 58: Ch 6, sk ch-3 sp, 6 M, (*4 B, 5 M,4 B, 1 M, 6 B,** 10 M) 2 times, rep from * to ** once, 9 M, Dc in turning ch, turn.

Row 59: Ch 6, sk ch-3 sp, 8 M, (*6 B, 1 M, 3 B, 5 M, 4 B,** 11 M) 2 times, rep from * to ** once, 8 M, Dc in turning ch, turn.

Row 60: Ch 6, sk ch-3 sp, 8 M, (*4 B, 5 M, 1 B, 2 M, 4 B,** 14 M) 2 times, the rep from * to ** once, 11 M, Dc in turning ch, turn.

Row 61 (Inc row): Ch 6, sk ch-3 sp, 2 M, (Vst in next st, ch 3, sk ch-3 sp, 2 M) 5 times, (*1 B, 3 M, 3 B,** ch 3, sk 2, 1 M, [V-st in next st, ch 3, sk ch-3 sp, 2 M] 7 times) 2 times, rep from * to ** once, ch 3, sk ch-3 sp, 1 M, (V-st in next st, ch 3, sk ch-3 sp, 2 M) 3 times, Dc in turning ch, turn.

Row 62: Ch 6, sk ch-3 sp, 13 M, (*4 B, 2 M, 1 B,** 30 M) 2 times, rep from * to ** once, 23 M, Dc in turning ch, turn.

Row 63: Ch 6, sk ch-3 sp, 23 M, (*1 B, 1 M, 3 B,** 32 M) 2 times then rep from * to ** once, 15 M, Dc in turning ch, turn.

Row 64: Ch 6, sk ch-sp, 14 M, (*4 B, 3, M, 4 B,** 26 M) 2 times, rep from * to ** once, 18 M, Dc in turning ch, turn.

Row 65: Ch 6, sk ch-3 sp, 16 M, (*9 B, 1 M, 1 B**, 26 M) 2 times, rep from * to ** once, 16 M, Dc in turning ch, turn.

Row 66: Ch 6, sk ch-3 sp, 15 M, (*1 B, 1 M, 3 B, 4 M, 3 B, 25 M) 2 times, rep from * to ** once, 16 M, Dc in turning ch, turn.

Row 67: Ch 6, sk ch-3 sp, 24 M, (*2 B**, 35 M) 2 times, 2 B, 17 M, Dc in turning ch, turn.

Row 68: Ch 6, sk ch-3 sp, 13 M, (4 B, 33 M) 2 times, 4 B, 26 M, Dc in turning ch, turn.

Row 69: Ch 6, sk ch-3 sp, 26 M, (4 B, 33 M) 2 times, 4 B, 13 M, Dc in turning ch, turn.

Row 70: Ch 6, sk ch-3 sp, work M across, Dc in turning ch, turn.

Row 71: *Ch 6, sk ch-3 sp, Sc in next st,** rep from * to ** across, turn. (118 Lps).

Row 72 (Inc row): Lp 7 in each of first 3 Lps, *2 Lp 7 in next Lp, 1 Lp 7 each in next 2 Lps,** rep from * to ** to last 4 Lps, 2 Lp 7 in next Lp, 1 Lp 7 each in last 3 Lps (156 Lps).

Row 73: Using CC1, Lp 7 in each Lp across. Make the last Lp and pick up MC. Row 74-75: Repeat rows 18-19.

Row 76: Using CC2, Lp 7 in each Lp across. Make the last Lp and pick up MC. Row 77-80: Repeat rows 18-19.

Border Row 81: Ch 3, 2 Dc in first st, sk 1 Lp, sl st in next st, *ch 3, 2 Dc in same st as sl st, sk 1 Lp, sl st in next st.** Rep from *to**across the semi-circle side. Sc across the width of the shawl.

FINISHING Weave in ends. Block to finished measurements.

Marisol Tank

by Claud Contreras @audiceefiberarts .

Dyer Christina Hudson @brujerialana No longer an active dyer

FINISHED MEASUREMENTS

Sizes 1, 2, 3 (4, 5, 6, 7) 8, 9, 10, 11 To fit chest circumference 30, 34, 38 (42, 46, 50, 54) 58, 62, 66, 70 inches / 75, 85, 95 ( 105, 115, 125, 135) 145, 155, 165, 175 centimeters Garment Circumference: 34, 38, 42 ( 46, 50, 54, 58) 62, 66, 70, 74 inches / 85, 95, 105 ( 115, 125, 135, 145) 155, 165, 175, 185 centimeters Overall Length: 16 inches / 40 centimeters Strap length: 12, 12, 14 (14, 16, 16, 18) 18, 20, 20, 22 inches / 30, 30, 35 (35, 40, 40, 45) 45, 50, 50, 55 centimeters.

YARN

Brujeria Lana. DK weight, 100% Fine Superwash Merino, 100g / 224 m/246 yds) 2, 2, 2 (2, 3, 3, 3) 3, 3, 4, 4 skeins in Girasoles. If you are adding length in the body, every additional 15 rows will require approximately 49, 53, 61 (69, 73, 83, 85) 97, 105, 111, 117 extra yards | 45, 48, 55 ( 63, 66, 76, 78) 89, 96, 101, 107 extra meters.

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NEEDLES

US 8 (5mm)circular needle, 32-inch/80 cm or size needed to obtain body gauge US 6 (4mm) circular needle, 32-inch/80 cm or size needed to obtain ribbing gauge US 6 (4mm) dpns optional for tank top straps US 5 (3.5mm) circular needle, 32-inch/80 cm for top ribbing Optional Cable Needle

NOTIONS Darning Needle , Stitch Markers Optional locking stitch markers (4) Scrap yarn, or stitch holder

(6),

GAUGE

20 sts x 28 rows = 4” / 10cm over Stockinette Stitch, blocked 18 sts x 32 rows = 4”/10cm over 3x3 Ribbing for loose ribbing, blocked 21 sts x 36 rows = 4”/10cm over 3x3 Ribbing for tight ribbing, blocked For pattern support, contact Claud at audiceefiberarts@gmail.com Marisol is a Spanish name, a portmanteau of Sea and Sun. I have long associated Girasoles (sunflowers) with my cousin Marisol, both of which have inspired this tank.

The Marisoles tank top, reminiscent of stretching and ever-changing sunflowers, is a reversible, cable tank, worked bottom up and in the rnd. It can be worn strapless or with crisscrossing i-cord straps. Five different cable patterns, including a faux cable, suggest growth and movement up the body.

Special Stitches: Faux Cable (worked flat or in the rnd over 3 sts) Row 1-4: K3.

Row 5: Slwyib, k1, M1L, k1, psso.

1/1 Right Leaning Cable (worked flat or in the rnd over 2 sts) Row 1: K2 Row 2: Sl1 to cn and hold to back, k1 from LH needle, k1 from cn.

1/1 Left Leaning Cable (worked flat or in the rnd over 2 sts) Row 1: K Row 2: Sl1 to cn and hold to front, k1 from LH needle, k1 from cn.

3/3 Right Leaning Cable (worked flat or in the rnd over 6 sts) Row 1-4: K6 Row 5: Sl3 to cn and hold to back, k3 from LH needle, k3 from cn.

DIRECTIONS Cast On With desired ribbing needle and using long-tail method, CO 145, 157, 181 (205, 217, 247, 253) 289, 313, 331, 349 sts. Join for working in the rnd being careful not to twist your sts. K last and first st tog. Place BoRm. 144, 156, 180( 204, 216, 246, 252) 288, 312, 330, 348 sts.

With desired ribbing needles: Rnd 1: (K3, p3) to end.

Cont rnd one for 2 inches / 5 cm, sl BoRm when you come to it.

Body Change to larger needles if needed.

Setup Rnd: *K1, 4, 10 ( 16, 1, 8, 10 ) 19, 7, 11, 16, pm, k 70, 70, 70 (70, 106, 106, 106) 106, 142, 142, 142, pm, k1, 4, 10 (16, 1, 9, 10) 19, 7, 12, 16, pm, rep from * to BoRm. Rnd 1: K to m, sm, *Work Marisoles chart A, k2 rep from * 1, 1, 1 ( 1, 2, 2, 2 ) 2, 3, 3, 3 times total, work Marisoles chart A, sm, k to m, sm, k to m, sm, **work Marisoles chart B, k2, rep from ** 1, 1, 1 ( 1, 2, 2, 2 ) 2, 3, 3, 3 times total, work Marisoles chart B, sm, k to BoR. Marisoles chart A is 10 rnds. Marisoles chart B is 15 rnds.

Rep until you have worked 70 rnds, Marisoles chart A seven times and Marisoles chart B four and a half times.

Body will measure 12” / 30 cm from rnd 1 to 70. For bodies wanting additional length, every 15 rnds is 2” / 5cm.

Top Ribbing Change to your smaller ribbing needles and remove m as you come to them.

Rnd 1: (K3, p3) to end.

Rep rnd 1 for 2”, 5 cm.

Strapless BO and block to measurement. BO tightly.

I-cord straps BO and test fit. BO tightly. With RS front facing, place locking m to locate i-cord straps. Rep for back. With WS facing and a dpn, pick up 6 sts behind one of the m just placed on the front. Turn and join yarn.

I-Cord Row 1: (Sl1wyif, k1) three times, turn.

Rep for 12, 12, 14 (14, 16, 16, 18) 18, 20, 20, 22” / 30, 30, 35 (35, 40, 40, 45) 45, 50, 50, 55 cm.

Sl the 6 sts on hold and check for length.

Straps are designed to cross the shoulder (left front to left back). Additional length will be needed to modify straps to cross the back (left front to right back). Graft in place. Rep for the other side. Block to measurements.

Hover over with your phone's camera to download the printable charts.

Use the case sensitive password SPRING

Chart B

Chart A1

Butterfly Dudou

by Tiffany Wong @made_at_linden Dyer Imani Horton @knottybuffalo716

FINISHED MEASUREMENTS

Sizes 1 2, 3 (4, 5, 6) 7, 8, 9 To fit Chest Circumference: 30, 34, 38 (42, 46, 50) 54, 58, 62 inches / 75, 85, 95 ( 105, 115, 125 ) 135, 145, 155 centimeters Overall garment width: 20.5, 21.5, 22.5 ( 23.5, 24.5, 26 ) 28, 30, 32 inches / 51.25, 53.75, 56.25 ( 58.75, 61.25, 65 ) 70, 75, 80 centimeters Overall garment length: 10, 11, 12 ( 11, 12, 13.5 ) 13.5, 15, 17 inches / 24, 28, 30 ( 28, 29, 33 ) 34, 38, 42 centimeters Width at neck channel: 10 inches / 40 cm

YARN

Knotty Buffalo First Ward Fingering Fingering weight, 75% Superwash Merino 25% Nylon, 100g / 420m/463yds) MC 1 skein in Radicle Threads Exclusive Apricot; MC 1 skein in Jade for all chest sizes.

NEEDLES

NOTIONS

US 3 (3.25mm) circular needle, 32-40 Yarn Needle, Stitch Holders, Scissors inch/80 cm or size needed to obtain GAUGE gauge 19 sts and 33 rows = 4” / 10cm over US 3 (3.25mm) dpns Stockinette Stitch, blocked Crochet hook For pattern support, contact Tiffany at tiffany_wong@mail.harvard.edu

肚兜

Dudou is a Chinese-style halter top, originally a silk undergarment. They are often embroidered with symbols of good wishes for protection against evil. This design includes butterflies, symbolic of good fortune, and flowers. It brings back memories of verdant summers among the peonies.

The Butterfly Dudou top is a two color open back halter with two sided colorwork and wrapped stitches. It is worked bottom-up and flat, and worn secured with three i-cord straps.

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Special Stitches: Wrapped stitches With yarn in back, slip the sts from LH needle to right needle, bring yarn to front and slip the sts back to the LH needle. Bring yarn to back and slip the sts again to the right needle. Give the yarn a little tug to tighten it around the base of the wrapped sts.

Four Stitch I-cord Knit 4 sts, then return them to LH needle. Repeat until desired length.

Three needle Bind Off Arrange the two pieces to be joined with the RS facing and needles parallel. Use a third (working) needle to knit into the first stitch on each needle. Knit the two sts together.

Knit the next two stitches together.

There are now two sts on the RH needle.

Pass the first stitch over the second stitch, (1 st dec). Cont knitting the next two sts together and passing the first st over the second stitch until all sts are joined. Pull yarn through the last stitch and break, leaving the tail long enough to weave in.

DIRECTIONS Body (at waist) CO 5 sts with MC. Row 1 (RS): K across.

Row 2 (WS): P across.

Increases Row 3: K2, M1R, k to 2 sts before the end of the row, MIL, k2 (2 sts inc).

Row 4: P2, M1L, p to 2 sts before the end of the row, M1R, p2 (2 sts inc).

Rep rows 3-4 four more times. (25 sts).

Join CC and beg Butterfly Dudou Chart Row 13: K2, M1R, k1, work Butterfly Duduo chart to last 3 sts, k1, M1L, k2 (2 sts inc).

Row 14: P2, M1L, p1 work Duduo chart to last 3 sts, p1, M1R, p2 (2 sts inc).

Cont inc 2 st every row ending on Row 43, 43, 43 (48, 48, 48) 48, 48, 48.

Note: Dark red st will be MC for sizes 1, 2 and 3 and CC for sizes 4-9. Break CC. 87, 87, 87 (97, 97, 97) 97, 97, 97 sts.

For size 1, 2 and 3 only: Set-up row (WS): P2, M1L, p to 2 sts before the end of the row, M1R, p2. (2 sts inc).

All sizes resume: Row 1 (RS): K2, M1R, k to 2 sts before the end, MIL, k2. (2 sts inc).

Row 2 WS: (P2, M1L, p to 2 sts before the end, M1R, p2. (2 sts inc).

Work rows 1-2 one, three, five (four, five, eight) eleven, fourteen, eighteen times total. You now have 93, 101, 109, (113, 117, 129 ) 141, 153 , 169 sts. This is where you will later place the side ties.

Upper Body (neck decreases) For sizes 1 (2) Row 1: K across.

Row 2: P across.

Rep rows 1-2 once more.

For sizes 1 (2, 3) Row 1: K2, k2tog, k to 4 sts before the end, ssk, k2 (2 sts dec).

Row 2: P across.

Rep rows 2-3 until 71 sts rem.

For sizes 4 (5, 6) Row 1: K2, k2tog, k to 4 sts before the end, ssk, k2 (2 sts dec).

Row 2: P across.

Row 3: K2, k2tog, k to 4 sts before the end, ssk, k2 (2 sts dec).

Row 4: P2, ssp, p to 4 sts before the end, p2tog, p2 (2 sts dec).

Rep rows 1-4 until 73 sts rem.

For size (7, 8, 9) Row 1: K2, k2tog, k to 4 sts before the end, ssk, k2 (2 sts dec).

Row 2: P2, ssp, p to 4 sts before the end, p2tog, p2 (2 sts dec).

Rep rows 1-2 until 75 sts rem. 71 (71, 71, 73, 73, 73, 75, 75, 75) sts. Sl sts onto scrap yarn, stitch holder or spare needle.

Contrasting Side I-cord Ties (make 2): Set-up row: with WS facing and dpns, pick up 4 sts from one side point. Join CC. I-cord Row 1: K4, sl4 to LH needle.

Rep until I-cord measures 14, 16, 18 ( 20, 23, 26 ) 29, 31, 34” / 35, 40, 45 ( 50, 57.5, 65 ) 72.5, 77.5, 85cm. BO. Top I-cord Tie With MC and dpns, CO 4 sts, I-cord Row 1: K4, sl4 to LH needle Rep until I-cord measures 42 inches / 105 centimeters, BO. Top Channel Provisionally cast on 71 (71, 71, 73, 73, 73, 75, 75, 75) sts with a crochet hook and scrap yarn.

With CC and long needle: Row 1 (RS): K across.

Row 2 (WS): P across.

Rep Rows 1-2 five more times.

Undo scrap yarn from the provisional CO while slipping the resulting 71 (71, 71, 73, 73, 73, 75, 75, 75) sts onto a third needle. You will now be grafting the two long sides together to make a channel.

You may lay the I-cord in the channel now, or thread it though later.

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With WS facing and needles parallel, * K2tog (1 st from each needle), rep from * to end. 71 (71, 71, 73, 73, 73, 75, 75, 75) sts.

To attach the cord channel to the top of the halter, use a 3 needle BO, with the WS of the halter facing you and the channel sts on a parallel needle (RS of channel and halter facing each other).

FINISHING If you didn’t knit the channel closed with the top i-cord in the piece, thread the top i-cord through the channel. Weave in ends, wash and block to size. To wear, tie the top cord behind the neck and tie the side ties to each other behind the back.

Hover over with your phone's camera to download the printable charts.

Use the case sensitive password SPRING

Fresh Fish Scarf pg. 89

Rad Pouch pg. 92

Lineal Picnic Blanket pg. 97

Fractal Socks pg. 99

Ujjwala Shawl pg. 110

Lolly Socks pg. 104

Light Me Up Tee pg. 113

Fresh Fish Scarf

by April Rongero @xoxotiya Dyer Theresa Hill @ewe_nited_states_of_fiber

FINISHED MEASUREMENTS

Length 82inches/208.5cm Width 9.5inches/24cm

YARN

Ewe-Nited States of Fiber. Fingering, 100% Superwash Merino; 100 g/490 yds. MC 1 skein in Spring Awakening CCs Mini fingering/sock, 75% Superwash Merino, 25% Nylon; 20 g/85 m/93 yds) 1 set in You Are So Bold (2 mini skeins in Happy Day (C1), 2 mini skeins in Mandarin (C2) and 1 mini skein in Roasted Tomato (C3))

HOOKS

US H/8 (5 mm) crochet hook or size needed to obtain gauge

NOTIONS Yarn Needle, Stitch Markers , Blocking mats/towels and pins , Scissors

GAUGE

20 sts x 11 rows = 4” in Double Crochet, unblocked 19 sts x 10 rows = 4” in Double Crochet, blocked For pattern support, contact April at xoxotiya.crafts@gmail.com The Fresh Fish Scarf is inspired by trips to the grocery store with my grandparents. Its bright colors reflect my excitement for those after-school outings, while its name is a tribute to my grandmother’s memorable persistence requesting “fresh fish” at the seafood counter despite being misunderstood because of her accent.

This scarf is an easy intarsia crochet pattern that is worked flat from one point to the other. It features sectional repeats for each contrasting color.

Notes Colors are changed at the center of each row throughout; there should be an equal number of stitches in each color in each row. To change color, work last st of old color to last yarn over. Yarn over with new color and draw through all loops on hook to complete the stitch. It is important to pull the dropped color to the front so that it is in the correct position to change back to on the next row. Both sides of the scarf look similar; there are no Right and Wrong sides.

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DIRECTIONS Increase Section Row 1: With MC, in magic ring, ch 2 (does not count as Dc throughout), Dc. Change to C1, Dc in magic ring, turn. 2 sts.

Row 2: With C1, ch 2, 2 Dc in first st.

Change to MC, 2 Dc in last st, turn. 4 sts.

Row 3: With MC, ch 2, 2 Dc in first st, DC. Change to CC1, Dc, 2 DC in last st, turn. 6 sts.

Row 4: With CC1, ch 2, 2 Dc in first st, DC in next 2 sts. Change to MC, Dc in next 2 sts, 2 Dc in last st, turn. 8 sts.

Row 5: With MC, ch 2, 2 Dc in first st, Dc in next 3 sts. Change to C1, Dc in next 3 sts, 2 Dc in last st, turn. 10 sts.

Row 6: With CC1, ch 2, 2 Dc in first st, Dc in next 4 sts. Change to MC, Dc in next 4 sts, 2 Dc in last st, turn. 12 sts.

Row 7: With MC, ch 1 (does not count as SC throughout), Sc in next 6 sts, mark last Sc with a marker, pull C1 to front but continue to SC with MC, Sc in next 6 sts, turn. 12 sts.

Row 8: With MC, ch 2, 2 Dc in first st, Dc in each st to marker, mark last Dc worked. Change to C1, Dc in each st to last st, 2 Dc in last st, turn. 2 sts inc’d.

Row 9: With C1, ch 2, 2 Dc in first st, Dc in each st to marker, mark last Dc worked. Change to MC, Dc in each st to last st, 2 Dc in last st, turn. 2 sts inc’d.

Rows 10–13: Rep Rows 8–9 twice. 8 sts inc’d. 24 sts.

Row 14: With MC, ch 1, Sc in each st to marker, mark last SC worked, pull C1 to front, with MC, Sc in each st across, turn.

Rows 15–28: Rep Rows 8–14 two more times. 48 sts.

Body First Happy Day Section Row 29: With MC, ch 2, Dc in next 23 sts, Sc in st before marker, mark Sc. Change to C1, Sc in next st, Dc in next 23 sts, turn.

Row 30: With C1, ch 2, Dc in next 23 sts, Sc in st before marker, mark Sc. Change to MC, Sc in next st, Dc in next 23 sts, turn.

Rows 31–34: Rep Rows 29–30 two more times.

Row 35: With MC, ch 1, Sc in each st to marker, mark last Sc worked, pull C1 to front, with MC, Sc in each st across, turn.

Rows 36–56: Work Rows 29–35 three more times. Cut C1, leaving 6” tail.

First Mandarin Section Row 57: With MC, ch 2, Dc in next 23 sts, Sc in st before marker, mark Sc. Change to C2, Sc in next st, Dc in next 23 sts, turn.

Row 58: With C2, ch 2, Dc in next 23 sts, Sc in st before marker, mark Sc. Change to MC, Sc in next st, Dc in next 23 sts, turn.

Row 59–60: Rep Rows 57–58.

Row 61: With MC, ch 1, Sc in each st to marker, mark last Sc worked, pull C2 to front, with MC, Sc in each st across, turn.

Rows 62–96: Rep Rows 57–61 seven more times. Cut C2, leaving a 6” tail.

Roasted Tomato Section Row 97: With MC, ch 2, Dc in next 23 sts, Sc in st before marker, mark Sc. With C3, Sc in next st, Dc in next 23 sts, turn.

Row 98: With C3, ch 2, Dc in next 23 sts, Sc in st before marker, mark Sc. With MC, Sc in next st, Dc in next 23 sts, turn.

Row 99: With MC, ch 1, SC in each st to marker, mark last Sc worked, pull C3 to front, with MC, Sc in each st across, turn.

Rows 100–141: Rep Rows 97–99 fourteen more times. Cut C3, leaving a 6” tail.

Second Mandarin Section Rows 142–181: Rep Rows 57–96. Cut C2, leaving a 6” tail.

Second Happy Day Section Rows 182–209: Rep Rows 29–56. Do not cut C1.

Decrease Section Row 210: With MC, ch 2, Dc in 2nd st, Dc in each st to marker, mark last Dc worked. Change to C1, Dc in each st to last 2 sts, DC2tog, turn. 2 sts dec’d. 46 sts.

Row 211: With C1, ch 2, Dc in 2nd st, Dc in each st to marker, mark last Dc worked. Change to MC, Dc in each st to last 2 sts, DC2tog, turn. 2 sts dec’d. 44 sts.

Rows 212–215: Rep Rows 210–211 twice. 8 sts dec’d. 36 sts.

Row 216: With MC, ch 1, Sc in each st to marker, mark last Sc worked, pull C1 to front, with MC, Sc in each st across, turn.

Rows 217–230: Rep Rows 210–216 two more times. 12 sts.

Row 231: With MC, ch 2, Dc in 2nd st, Dc in next 4 sts. Change to C1, Dc in next 4 sts, DC2tog, turn. 10 sts.

Row 232: With C1, ch 2, Dc in 2nd st, Dc in next 3 sts. Change to MC, Dc in next 3 sts, DC2tog, turn. 8 sts.

Row 233: With MC, ch 2, Dc in 2nd st, Dc in next 2 sts. Change to C1, Dc in next 2 sts, DC2tog, turn. 6 sts.

Row 234: With C1, ch 2, Dc in 2nd st, Dc. Change to MC, Dc in next st, DC2tog, turn. 4 sts.

Row 235: With MC, ch 2, Dc in 2nd st.

Change to C1, DC2tog, turn. 2 sts.

Row 236: With C1, ch 2, yo, insert hook into same st and pull up a Lp, yo and pull through 2 lps (first leg of DC2tog completed). Keeping 2 lps of C1 on hook, yo with MC, insert hook into next st and pull up a lp (2 lps of C1 and 2 lps of MC on hook), yo and pull through 2 MC lps, yo and pull through 3 remaining lps. 1 st.

Cut both MC and C1 and fasten off, leaving 6” tails.

FINISHING Weave in ends, block to finished measurements.

Rad Pouch

by Amanda Calbucara @nukeniejte Dyer Rachel Barrett @flyydyed

FINISHED MEASUREMENTS

9.5x0.5x7”

YARN

OOAK FLYY DYED One Skein Wonders.

Fingering weight, 100% mercerised Egyptian cotton, 100g/400meters/437yards. MC (lemon yellow): approx.

55g/220meters/240yards. C1 (Camel): approx. 15g/60meters/65yards C2 (Black): approx.

20g/80meters/87yards . C3 (Cocoa brown): approx. 15g/60meters/65yards

NOTIONS

Yarn Needle ,Zipper according to size of the finished product, Matching thread, Sewing needle

HOOKS

GAUGE

US A-0 (2 mm) Crochet hook or size needed to obtain gauge

The inspiration for the RAD pouch comes from solidarity and sisterhood. As the pouch is being made, the yarn threads form hands risen to the sky together.

Let’s stand together, grow together, BE RAD!

DIRECTIONS Using MC, Ch 117 sts.

SetupRnd: SC into the 2nd Ch from the hook. SC across to end, continue around other side of chain and working in back of each st, SC across, sl st in 1st ch to join. 232 sts.

Round 1: Using MC, Ch 3 (counts as Dc throughout), add C1, C2, C3 and keep inside of following sts, 2 Dc in same place as Ch 3, Dc in next 22 sts, using MC, *Dc 18 sts using C1, Dc 12 sts using MC, Dc 20 sts using C2, Dc 8 sts using MC, Dc 18 sts using C3, Dc 16 sts using MC,** 5 Dc in next st using MC, Dc 23 sts using MC, repeat from * to ** once, 3 Dc in last st, Sl st in ch-2 to join. 240 sts.

47 sts and 18 rows = 4” in Double Crochet, blocked. (Gauge for this project is approximate) For pattern support, contact Amanda at nukeniejte@gmail.com

The RAD Pouch is worked from the bottom-up, in the round. The pattern is created through 4-color tapestry crochet.

Notes: Colorwork for this pouch is worked as Double crochet stitches using the tapestry chart as a guide or from written instructions below. The stitches are worked through both loops. Change colors by working to the final yarn over, switch to the new color to complete the final yarn over and pull through.

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Round 2: Using MC, Ch 3 and Dc 25 sts, *Dc 17 sts using C1, Dc 12 sts using MC, Dc 20 sts using C2, Dc 8 sts using MC, Dc 18 sts using C3,** Dc 45 sts using MC, repeat from * to ** once, Dc 19 sts using MC, Sl st in ch-2 to join.

Round 3: Using MC, Ch 3, and Dc 25 sts, *Dc 16 sts using C1, Dc 13 sts using MC, Dc 20 sts using C2, Dc 8 sts using MC, Dc 18 sts using C3,** Dc 45 sts using MC, repeat from * to ** once, Dc 19 sts using MC, Sl st in ch-2 to join.

Round 4: Using MC, Ch 3, and Dc 24 sts, *Dc 4 sts using C1, Dc 1 st using MC, Dc 12 sts using C1, Dc 13 sts using MC, Dc 20 sts using C2, Dc 9 sts using MC, Dc 17 sts using C3,** Dc 44 sts using MC, repeat from * to ** once, Dc 19 sts using MC, Sl st in ch-2 to join.

Round 5: Using MC, Ch 3, and Dc 24 sts, *Dc 4 sts using C1, Dc 1 st using MC, Dc 12 sts using C1, Dc 13 sts using MC, Dc 20 sts using C2, Dc 9 sts using MC, Dc 16 sts using C3,** Dc 45 sts using MC, repeat from * to ** once, Dc 20 sts using MC, Sl st in ch-2 to join.

Round 6: Using MC, Ch 3, and Dc 23 sts, *Dc 5 sts using C1, Dc 1 st using MC, Dc 12 sts using C1, Dc 13 sts using MC, Dc 20 sts using C2, Dc 8 sts using MC, Dc 5 sts using C3, Dc 1 st using MC, Dc 11 sts using C3,** Dc 44 sts using MC, repeat from * to ** across, Dc 20 sts using MC, Sl st in ch-2 to join.

Round 7: Using MC, Ch 3, and Dc 23 sts, *Dc 4 sts using C1, Dc 3 st using MC, Dc 10 sts using C1, Dc 14 sts using MC, Dc 20 sts using C2, Dc 8 sts using MC, Dc 5 sts using C3, Dc 1 st using MC, Dc 11 sts using C3,** Dc 44 sts using MC, repeat from * to ** once, Dc 20 sts using MC, Sl st in ch-2 to join.

Round 8: Using MC, Ch 3, and Dc 22 sts, *Dc 6 sts using C1, Dc 1 st using MC, Dc 12 sts using C1, Dc 13 sts using MC, Dc 19 sts using C2, Dc 8 sts using MC, Dc 6 sts using C3, Dc 1 st using MC, Dc 11 sts using C3,** Dc 43 sts using MC, repeat from * to ** once, Dc 20 sts using MC, Sl st in ch-2 to join.

Round 9: Using MC, Ch 3, and Dc 20 sts, *Dc 8 sts using C1, Dc 1 st using MC, Dc 13 sts using C1, Dc 12 sts using MC, Dc 19 sts using C2, Dc 8 sts using MC, Dc 5 sts using C3, Dc 3 st using MC, Dc 9 sts using C3,** Dc 42 sts using MC, repeat from * to ** once, Dc 21 sts using MC, Sl st in ch-2 to join.

Round 10: Using MC, Ch 3, and Dc 20 sts, *Dc 9 sts using C1, Dc 1 st using MC, Dc 14 sts using C1, Dc 11 sts using MC, Dc 17 sts using C2, Dc 7 sts using MC, Dc 8 sts using C3, Dc 1 st using MC, Dc 11 sts using C3,** Dc 41 sts using MC, repeat from * to ** once, Dc 20 sts using MC, Sl st in ch-2 to join.

Round 11: Using MC, Ch 3, and Dc 19 sts, *Dc 1 st using C1, Dc 2 sts using MC, Dc 1 st using C1, Dc 2 sts using MC, Dc 6 sts using C1, Dc 1 st using MC, Dc 13 sts using C1, Dc 10 sts using MC, Dc 17 sts using C2, Dc 6 sts using MC, Dc 9 sts using C3, Dc 1 st using MC, Dc 12 sts using C3,** Dc 39 sts using MC, repeat from * to ** once, Dc 19 sts using MC, Sl st in ch-2 to join.

Round 12: Using MC, Ch 3, and Dc 18 sts, *Dc 1 st using C1, Dc 2 sts using MC, Dc 4 sts using C1, Dc 2 sts using MC, Dc 5 sts using C1, Dc 2 sts using MC, Dc 13 sts using C1, Dc 8 sts using MC, Dc 16 sts using C2, Dc 7 sts using MC, Dc 10 sts using C3, Dc 1 st using MC, Dc 13 sts

using C3,** Dc 36 sts using MC, repeat from * to ** once, Dc 17 sts using MC, Sl st in ch-2 to join.

Round 13: Using MC, Ch 3, and Dc 18 sts, *Dc 6 sts using C1, Dc 2 sts using MC, Dc 2 sts using C1, Dc 8 sts using MC, Dc 12 sts using C1, Dc 6 sts using MC, Dc 5 sts using C2, Dc 1 st using MC, Dc 11 sts using C2, Dc 6 sts using MC, Dc 2 sts using C3, Dc 2 sts using MC, Dc 1 st using C3, Dc 2 sts using MC, Dc 6 sts using C3, Dc 1 st using MC, Dc 12 sts using C3,** Dc 35 sts using MC, repeat from * to ** once, Dc 16 sts using MC, Sl st in ch-2 to join.

Round 14: Using MC, Ch 3, and Dc 17 sts, *Dc 5 sts using C1, Dc 2 sts using MC, Dc 7 sts using C1, Dc 2 sts using MC, Dc 3 sts using C1, Dc 3 sts using MC, Dc 11 sts using C1, Dc 4 sts using MC, Dc 5 sts using C2, Dc 1 st using MC, Dc 11 sts using C2, Dc 5 sts using MC, Dc 2 sts using C3, Dc 2 sts using MC, Dc 4 sts using C3, Dc 2 sts using MC, Dc 5 sts using C3, Dc 2 sts using MC, Dc 12 sts using C3,** Dc 32 sts using MC, repeat from * to ** once, Dc 14 sts using MC, Sl st in ch-2 to join.

Round 15: Using MC, Ch 3, and Dc 17 sts, *Dc 3 sts using C1, Dc 2 sts using MC, Dc 7 sts using C1, Dc 3 sts using MC, Dc 1 st using C1, Dc 8 sts using MC, Dc 9 sts using C1, Dc 3 sts using MC, Dc 6 sts using C2, Dc 1 st using MC, Dc 11 sts using C2, Dc 6 sts using MC, Dc 6 sts using C3, Dc 2 sts using MC, Dc 2 sts using C3, Dc 8 sts using MC, Dc 11 sts using C3,** Dc 31 sts using MC, repeat from * to ** once, Dc 13 sts using MC, Sl st in ch-2 to join.

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Round 16: Using MC, Ch 3, and Dc 18 sts, *Dc 2 sts using C1, Dc 1 st using MC, Dc 6 sts using C1, Dc 2 sts using MC, Dc 1 st using C1, Dc 1 st using MC, Dc 7 sts using C1, Dc 2 sts using MC, Dc 8 sts using C1, Dc 5 sts using MC, Dc 5 sts using C2, Dc 3 sts using MC, Dc 9 sts using C2, Dc 5 sts using MC, Dc 6 sts using C3, Dc 2 sts using MC, Dc 7 sts using C3, Dc 2 sts using MC, Dc 3 sts using C3, Dc 3 sts using MC, Dc 10 sts using C3,** Dc 30 sts using MC, repeat from * to ** once, Dc 11 sts using MC, Sl st in ch-2 to join.

Round 17: Using MC, Ch 3, and Dc 21 sts, *Dc 5 sts using C1, Dc 2 sts using MC, Dc 2 sts using C1, Dc 1 st using MC, Dc 16 sts using C1, Dc 4 sts using MC, Dc 8 sts using C2, Dc 1 st using MC, Dc 11 sts using C2, Dc 4 sts using MC, Dc 4 sts using C3, Dc 2 sts using MC, Dc 7 sts using C3, Dc 3 sts using MC, Dc 1 st using C3, Dc 8 sts using MC, Dc 8 sts using C3,** Dc 33 sts using MC, repeat from * to ** once, Dc 11 sts using MC, Sl st in ch-2 to join.

Round 18: Using MC, Ch 3, and Dc 22 sts, *Dc 2 sts using C1, Dc 2 sts using MC, Dc 4 sts using C1, Dc 3 sts using MC, Dc 12 sts using C1, Dc 5 sts using MC, Dc 9 sts using C2, Dc 1 st using MC, Dc 12 sts using C2, Dc 4 sts using MC, Dc 2 sts using C3, Dc 1 st using MC, Dc 7 sts using C3, Dc 2 sts using MC, Dc 1 st using C3, Dc 1 st using MC, Dc 7 sts using C3, Dc 2 sts using MC, Dc 7 sts using C3** Dc 36 sts using MC, repeat from * to ** once, Dc 13 sts using MC, Sl st in ch-2 to join.

Round 19: Using MC, Ch 3, and Dc 24 sts, *Dc 8 sts using C1, Dc 2 sts using MC, Dc 2 sts using C1, Dc 3 sts using MC, Dc 5 sts using C1, Dc 6 sts using MC, Dc 10 sts using C2, Dc 1 st using MC, Dc 13 sts using C2, Dc 5 sts using MC, Dc 6 sts using C3, Dc 2 sts using MC, Dc 2 sts using C3, Dc 1 st using MC, Dc 15 sts using C3,** Dc 39 sts using MC, repeat from * to ** once, Dc 14 sts using MC, Sl st in ch-2 to join.

Round 20: Using MC, Ch 3, and Dc 26 sts, *Dc 5 sts using C1, Dc 1 st using MC, Dc 9 sts using C1, Dc 8 sts using MC, Dc 2 sts using C2, Dc 2 sts using MC, Dc 1 st using C2, Dc 2 sts using MC, Dc 6 sts using C2, Dc 1 st using MC, Dc 12 sts using C2, Dc 6 sts using MC, Dc 2 sts using C3, Dc 2 sts using MC, Dc 4 sts using C3, Dc 3 sts using MC, Dc 11 sts using C3,** Dc 43 sts using MC, repeat from * to ** once, Dc 16 sts using MC, Sl st in ch-2 to join.

Round 21: Using MC, Ch 3, and Dc 32 sts, *Dc 7 sts using C1, Dc 9 st using MC, Dc 2 sts using C2, Dc 2 sts using MC, Dc 4 st using C2, Dc 2 sts using MC, Dc 5 sts using C2, Dc 2 sts using MC, Dc 12 sts using C2, Dc 6 sts using MC, Dc 8 sts using C3, Dc 2 sts using MC, Dc 2 sts using C3, Dc 3 sts using MC, Dc 4 sts using C3,** Dc 50 sts using MC, repeat from * to ** once, Dc 17 sts using MC, Sl st in ch-2 to join.

Round 22: Using MC, Ch 3, and Dc 34 sts, *Dc 3 sts using C1, Dc 12 st using MC, Dc 6 sts using C2, Dc 2 sts using MC, Dc 2 st using C2, Dc 8 sts using MC, Dc 11 sts using C2, Dc 6 sts using MC, Dc 5 sts using C3, Dc 1 st using MC, Dc 9 sts using C3,** Dc 55 sts using MC, repeat from * to ** once, Dc 20 sts using MC, Sl st in ch-2 to join.

Round 23: Using MC, Ch 3, and Dc 47 sts, *Dc 6 sts using C2, Dc 2 sts using MC, Dc 7 sts using C2, Dc 2 sts using MC, Dc 3 sts using C2, Dc 3 sts using MC, Dc 10 sts using C2, Dc 9 sts using MC, Dc 8 sts using C3,** Dc 70 sts using MC, repeat from * to ** once, Dc 22 sts using MC, Sl st in ch-2 to join.

Round 24: Using MC, Ch 3, and Dc 47 sts, *Dc 4 sts using C2, Dc 2 sts using MC, Dc 7 sts using C2, Dc 3 sts using MC, Dc 1 st using C2, Dc 8 sts using MC, Dc 8 sts using C2, Dc 12 sts using MC, Dc 3 sts using C3,** Dc 72 sts using MC, repeat from * to ** once, Dc 24 sts using MC, Sl st in ch-2 to join.

Round 25: Using MC, Ch 3, and Dc 48 sts, *Dc 2 sts using C2, Dc 1 st using MC, Dc 7 sts using C2, Dc 2 sts using MC, Dc 1 st using C2, Dc 1 st using MC, Dc 7 sts using C2, Dc 2 sts using MC, Dc 7 sts using C2,** Dc 90 sts using MC, repeat from * to ** once, Dc 41 sts using MC, Sl st in ch-2 to join.

Round 26: Using MC, Ch 3, and Dc 51 sts, *Dc 6 sts using C2, Dc 2 sts using MC, Dc 2 sts using C2, Dc 1 st using MC, Dc 15 sts using C2,** Dc 94 sts using MC, repeat from * to ** once, Dc 42 sts using MC, Sl st in ch-2 to join.

Round 27: Using MC, Ch 3, and Dc 17 sts, *Dc 6 sts using C2, Dc 2 sts using MC, Dc 2 sts using C2, Dc 7 sts using MC, Dc 2 sts using C2, Dc 2 sts using MC, Dc 2 sts using C2, Dc 3 sts using MC, Dc 2 sts using C2, Dc 8 sts using MC, Dc 2 sts using C2, Dc 2 sts using MC, Dc 4 sts using C2, Dc 3 sts using MC, Dc 11 sts using C2, Dc 11 sts using MC, Dc 5 sts using C2, Dc 2 sts using MC, Dc 7 sts

using C2** Dc 37 sts using MC, repeat from * to ** once, Dc 19 sts using MC, Sl st in ch-2 to join.

Round 28: Using MC, Ch 3, and Dc 15 sts, *Dc 2 sts using C2, Dc 4 sts using MC, Dc 2 sts using C2, Dc 3 sts using MC, Dc 9 sts using C2, Dc 4 sts using MC, Dc 2 sts using C2, Dc 2 sts using MC, Dc 2 sts using C2, Dc 10 sts using MC, Dc 8 sts using C2, Dc 2 sts using MC, Dc 2 sts using C2, Dc 3 sts using MC, Dc 4 sts using C2, Dc 15 sts using MC, Dc 2 sts using C2, Dc 2 sts using MC, Dc 2 sts using C2, Dc 3 sts using MC, Dc 2 sts using C2** Dc 35 sts using MC, repeat from * to ** once, Dc 19 sts using MC, Sl st in ch-2 to join.

Round 29: Using MC, Ch 3, and Dc 15 sts, *Dc 2 sts using C2, Dc 4 sts using MC, Dc 2 sts using C2, Dc 4 sts using MC, Dc 2 sts using C2, Dc 3 sts using MC, Dc 2 sts using C2, Dc 6 sts using MC, Dc 5 sts using C2, Dc 12 sts using MC, Dc 5 sts using C2, Dc 1 st using MC, Dc 8 sts using C2, Dc 16 sts using MC, Dc 4 sts using C2, Dc 4 sts using MC, Dc 5 sts using C2,** Dc 35 sts using MC, repeat from * to ** once, Dc 19 sts using MC, Sl st in ch-2 to join.

Round 30: Using MC, Ch 3, and Dc 15 sts, *Dc 2 sts using C2, Dc 4 sts using MC, Dc 2 sts using C2, Dc 5 sts using MC, Dc 2 sts using C2, Dc 1 st using MC, Dc 2 sts using C2, Dc 5 sts using MC, Dc 2 sts using C2, Dc 3 sts using MC, Dc 2 sts using C2, Dc 17 sts using MC, Dc 7 sts using C2, Dc 20 sts using MC, Dc 2 sts using C2, Dc 3 sts using MC, Dc 1 st using C2, Dc 3 sts using MC, Dc 2 st using C2,** Dc 35 sts using MC, repeat from * to ** once, Dc 19 sts using MC, Sl st in ch-2 to join.

Round 31: Using MC, Ch 3, and Dc 17 sts, *Dc 6 sts using C2, Dc 6 sts using MC, Dc 3 sts using C2, Dc 7 sts using MC, Dc 6 sts using C2, Dc 19 sts using MC, Dc 3 sts using C2, Dc 19 sts using MC, Dc 5 sts using C2, Dc 4 sts using MC, Dc 5 sts using C2,** Dc 37 sts using MC, repeat from * to ** once, Dc 19 sts using MC, Sl st in ch-2 to join.

Round 32-35: Using MC, Ch 3 and Dc all, keep C1, C2, C3 inside of sts, Sl st in ch-2 to join. 240 sts.

FINISHING Fasten off. Weave in ends, block to size and sew the zipper on the top of the pouch.

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Use the case sensitive password SPRING

Lineal Picnic Blanket

by Rose Obom @yarncraftee Dyer Megan Maria Ayers @connemarawool

FINISHED MEASUREMENTS

Before blocking- 55 inches tall/40 inches wide. Ater blocking- 65 inches tall/40 inches wide

YARN

Connemara Wool. DK weight, 100% Irish Wicklow Cheviot Wool, 50g/136m/149yds. C1- 8 Skeins in Sky, C2- 6 skeins in Heather, C3- 3 skeins in Elderberry, C4- 2 skeins in Claud, C5- 1 skein in Seaweed.

NOTIONS

Yarn Needle, Stitch Markers , Scissors, Scrap Yarn

HOOK

US7 4.5mm hook or size needed to obtain gauge

GAUGE

14 sts and 13 rows = 4” in pattern before blocking 10 sts and 13 rows = 4” in pattern after blocking The Lineal Picnic Blanket is inspired by shapes, texture and colors. It stemmed from a desire to create an easy design that was also aesthetically pleasing and had character to it; a blanket that you will always want to take with you.

The Lineal Picnic Blanket is an intarsia crochet pattern. It uses the Lemon Peel stitch, a combination of Single and Double Crochet to give the blanket a lovely texture. This blanket easily seats two people, with a little more room for a third.

Notes: Chain 1 at the beginning of the row does not count as a stitch. The first stitch on the row is the last stitch on the previous row. The pattern uses intarsia for color blocking. Only one color is worked at a time. Unused yarn is not carried along the back of the work. Join a new ball of yarn when the same color has to be used at a different place on the same row. To change color, work last stitch of old color to last yarn over.

Change color to complete the final yarn over and pull through.

For pattern support, contact Rose at yarncraftee@gmail.com

Page 97

DIRECTIONS With C1, ch 170.

Row 1: Dc in third ch from hook, *Sc in next ch, Dc in next; repeat from * to last ch, Sc in last ch, turn. 168 sts Row 2: Ch 1 (does not count as st throughout), Dc in 1st st, *Sc in next st, Dc in next st; repeat from * to last st, Sc in last st, turn. 168 sts Rows 3-20: Repeat Row 2 eighteen more times.

Row 21: Working as established, work first 18 sts with C1, 114 sts with C2, 18 sts with C3, 18 sts with C2, turn.

Row 22: Work in pattern first 18 sts with C2, 18 sts with C3, 114 sts with C2, 18 sts with C1, turn.

Rows 23-40: Repeat Rows 21-22 nine more times.

Row 41: Work in pattern first 18 sts with C1, 18 sts with C2, 96 sts with C4, 18 sts with C3, 18 sts with C2, turn.

Row 42: Work in pattern first 18 sts with C2, 18 sts with C3, 96 sts with C4, 18 sts with C2, 18 sts with C1, turn.

Rows 43-60: Repeat Rows 41-42 nine more times.

Row 61: Work in pattern first 18 sts with C1, 18 sts with C2, 18 sts with C5, 60 sts with C1, 18 sts with C4, 18 sts with C3, 18 sts with C2, turn.

Row 62: Work in pattern first 18 sts with C2, 18 sts with C3, 18 sts with C4, 60 sts with C1, 18 sts with C5, 18 sts with C2, 18 sts with C1, turn.

Rows 63-160: Repeat Rows 61-62 forty nine more times.

Row 161: Work in pattern first 18 sts with C1, 18 sts with C2, 96 sts with C5, 18 sts with C3, 18 sts with C2, turn.

Page 98

Row 162: Work in pattern first 18 sts with C2, 18 sts with C3, 96 sts with C5, 18 sts with C2, 18 sts with C1, turn.

Rows 163-180: Repeat rows 161-162 nine more times.

Row 181: Work in pattern first 18 sts with C1, 132 sts with C3, 18 sts with C2, turn.

Row 182: Work in pattern first 18 sts with C2, 132 sts with C3, 18 sts with C1, turn.

Rows 183-200: Repeat rows 181-182 nine more times.

Row 201: Work in pattern first 18 sts with C1, 150 sts with C2, turn.

Row 202: Work in pattern first 150 sts with C2, 18 sts with C1, turn.

Rows 203-220: Repeat Rows 201-202 nine more times.

FINISHING Weave in ends. measurements.

Block

to

finished

Fractal Socks

by Kae Gregis @kgregis Dyer Stephanie Thompson @verse_yarns

FINISHED MEASUREMENTS

Adult sizes: 8 (9) 10 inch / 20 (23) 25.4 cm foot circumference, foot length customizable

YARN

Verse Yarns Sock Set. Fingering weight, 80% Superwash Merino, 20% Nylon; 100g/400yd/365m. MC- 1 skein Fronds & Tendrils, CC- 1 skein Americano

NOTIONS

Yarn needle, Locking stitch markers, Scrap yarn or stitch holder

NEEDLES

US 2 (2.75mm) dpns, 6-inch/15cm or size needed to obtain gauge US 3 (3.25mm) dpns, 6-inch/15cm, or one size / 0.50mm larger than smaller needle

GAUGE

32 sts and 32 rows = 4”/10cm in Fractal pattern worked flat using smaller needles, blocked For pattern support, contact Kae at KGregis@gmail.com A fractal is the repetition of the same thing on an increasingly smaller scale. It is how trees grow branches and plants grow leaves and petals. The motif of this sock is the third iteration of the Sierpinski Triangle Fractal.

The Fractal Socks feature a short row toe and heel. The pattern is worked flat across the instep, then the sole, heel, and gusset are worked flat while being joined to the instep at each edge. The leg is fully patterned.

Special Stitches: w&t (wrap and turn) Slip one stitch. Bring yarn forward.

Return slipped stitch to left needle. Turn work, continue in pattern. When you later come to a wrapped stitch, work st and wrap tog as 1 st.

DIRECTIONS Toe - Decreasing With smaller dpns and MC, using Judy’s Magic Cast On, CO 64 (72) 80 sts. Join for working in the round, being careful not to twist. Place BORm. Setup Rnd: K across all sts, turn.

Row 1 (WS): Sl 1, p29 (33) 37, w&t.

Row 2 (RS): K28 (32) 36, w&t.

Row 3: P27 (31) 35, w&t.

Row 4: K26 (30) 34, w&t.

Page 99

Cont working one fewer st before w&t on each row until you have worked k10, w&t.

Toe - Increasing Row 1 (WS): P11, w&t.

Row 2 (RS): K12, w&t.

Row 3: P13, w&t.

Row 4: K14, w&t.

Cont working one more st before w&t on each row, until you are ready to work 18 (22) 26 sts bef w&t with RS facing. You will now place your colorwork toe.

Next row (RS): K0 (2) 4 st with MC, work row 1 of Fractal Toe chart, k0 (2) 4 st with MC, w&t.

Cont working one more st before w&t on each row and colorwork toe chart, until 32 (36) 40 sts have been worked. Toe is 2.5 (3) 3.5 inches / 6.5 (8) 9 centimeters long.

Instep With WS facing, join CC and begin Fractal Instep chart on row ten. 32 (36) 40 sole sts rem on hold.

Row 1 (WS): Sl 1, p0 (2) 4 with MC, work Fractal Instep chart, p1 (3) 5 with MC. Row 2 (RS): Sl 1, k0 (2) 4 with MC, work Fractal Instep chart k1 (3) 5 with MC. Cont Row 1 and 2, until work measures 2.5 inches / 6.25 cm less than desired foot length, ending on a WS row. Break yarns. Make note of last row worked.

Count back 16 sl sts from the row just worked on each side of the instep. Place a locking m on each side for gusset inc.

Sole Using smaller dpn, join MC to WS and begin to work on 32 (36) 40 sole sts.

Row 1 (WS): Sl 1, p to last st, p last st tog with next instep st, turn.

Row 2 (RS): Sl 1, k to last st, sl last st kwise, ssk with next instep st, turn.

Cont as est until you reach locking m.

Remove m.

Gusset Row 1 (WS): Sl 1, p to last st, M1Lp, p last st tog with next instep st, turn (1 st inc).

Row 2 (RS): Sl 1, k to last st, M1L, sl last st kwise, and k2tog with next instep st, turn (1 st inc).

Rep Rows 1 and 2 until all instep sl sts have been joined. 64 (68) 72 gusset sts.

Heel Setup Row (WS): Sl 1, p46 (48) 50, w&t.

Row 1 (RS): K30, w&t.

Row 2: P29, w&t.

Row 3: K28, w&t.

Row 4: P27, w&t.

Cont working one fewer st before w&t on each row until you have worked k10, w&t.

Row 1 (WS): P across, working w&ts as you come to them, until the last w&t. PU the wrap and st, p2tog with next st, turn.

Row 2 (RS): Sl 1, k across, working w&ts as you come to them, until the last w&t.

PU the wrap and st, ssk with next st, turn. (32 heel sts).

Heel Flap Row 1 (WS): Sl 1, p to 1 st before gap, p2tog, turn.

Row 2 (RS): Sl 1, k to 1 st before gap, ssk, turn.

Rep Rows 1 and 2Leg Mark center st of heel. This is the new BOR. With larger needles, join MC and CC. Row 1: K0 (4) 0 sts with MC, work Fractal Leg chart (aligning pattern with instep) 4 (4) 5 times, k0 (4) 0 sts with MC. Rep leg chart until desired leg length is reached, ending on rnd 2 or 18. Sample shows one whole rep, plus 2 rounds.

Break CC.

Cuff With MC and smaller needles, (k1, p1) ribbing for 1”/2.5cm. BO using a stretchy BO. FINISHING Weave in (optional).

ends,

wash

and

block

Toe Chart

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Leg Chart

In Step Chart

Lolly Socks

by Lynette Hulse @vintagenettles Dyer June Sukho @fortuneyarnco

FINISHED MEASUREMENTS

Finished sock circumference: 6, (7, 8, 9, 10 ) inches / 15.25, 17.5 ( 20.5, 23, 25.5 ) centimeters

YARN

Fortune Yarn Co Sock. Light fingering weight, 75% Merino, 25% Nylon, 100g/422meters/461yards.

MC- (toes, heels, cuffs) 1 skein Blue Lace Agate, CC1-(mosaic foot and leg) 1 skein Milky Quartz, CC2- (mosaic foot and leg) 1 skein Sunstone

NOTIONS

Darning Needle , Stitch Markers

NEEDLES

Two US 0 (2mm) circular needles, 16inch/40 cm or size needed to obtain gauge.

GAUGE

32 sts and 52 rows = 4 inches / 10 cm over Stockinette Stitch, blocked.

32 sts and 62 rows = 4 inches / 10 cm in colorwork from Lolly Sock Chart(s), blocked.

For pattern support, contact Lynette at nett@vintagenettles.net Lolly Socks are sweets for your feet, inspired by the springy fun of eating sugar coated sour rainbow straps. The stripy gussets literally reference the confection. Lolly Socks feature mosaic motifs of overlapping rainbows and chevrons, reminiscent of shapes made when folding and twisting the sour candy straps.

Lolly Socks is a three color toe up sock, with contrast heels and toes, striped gusset and twisted rib cuff. Leg is knit straight to mid-calf.

Page 104

Notes: The pattern is written for two pairs of circular needles. If knitting with Magic Loop, a cord length of 32” or longer is recommended.

Special Stitches: Double Stitch (DS): Work to the desired turning point, and turn work. Bring yarn to front and then sl the next st pwise. Pull working yarn up and over the top of the needle to the back of the work, so that both legs of the st below the st just slipped are pulled onto the needle, forming a double stitch.

DIRECTIONS Toe With MC and using Judy’s Magic Cast-on, CO 8 , 12 ( 16, 20, 24) sts total, 4 , 6 ( 8, 10, 12 ) sts per needle. PM for the BoR and k around all sts.

Rnd 1: K1, M1R, k to one st before end of first needle, M1L, k2, M1R, k to last st, M1L, k1.

Rep rnd 1 until you have a total of 28 , 36 ( 44, 52, 60 ) sts, 14, 18 ( 22, 26, 30 ) sts per needle.

Rnd 2: K all.

Rep rnds 1 and 2 until you have a total of 48, 56 ( 64, 72, 80 ) sts, 24, 28 ( 32, 36, 40 ) sts per needle. Rep rnd 2 twice more.

Foot Change to CC1 Rnd 1: K all.

Rep rnd 1 twice more.

Change to CC2 and work the first row of the chart for your size, repeating the chart on the top and bottom of the sock until your work measures approx 2.75, 3.25 (3.5, 3.75, 4)” / 7, 8 (9, 9.5, 10) cm shorter than intended foot length.

If not knitting two at a time, make a note of which chart rnd you ended on, so that your second sock matches the first.

Striped Gusset Continue working the mosaic pattern on the top and bottom of the foot as you beg the striped gusset. Gusset will be worked in the same color as the current mosaic round.

Rnd 1: Work Lolly socks chart over the next 24, 28 (32, 36, 40) sts, M1R, pm, work Lolly socks chart over the next 24, 28 ( 32, 36, 40 ) sts, pm, M1L.

Rnd 2: Work chart over the next 24, 28 (32, 36, 40) sts, k to m, sm, work chart, sm, k to BoRM. Rnd 3: Work chart, M1R, k to m, sm, work chart, sm, k to end of rnd, M1L. Rep rnds 2 and 3 until you have 13, 15 ( 17, 19, 21) gusset sts on each side, ending bef a color change rnd. 74, 86 ( 98, 110, 122 ) sts, 24, 28 ( 32, 36, 40 ) sts on top of foot, 50, 58 ( 66, 74, 82 ) sts on gusset and bottom of foot.

Heel Turn Change to MC. Row 1 (WS): Turn work and p across 50, 58 ( 66, 74, 82 ) sts, turn.

Row 2 (RS): Sl1wyib, k to 12, 14 ( 16, 18, 22 ) sts from end, turn.

Row 3 (WS): DS, p to 12, 14 ( 16, 18, 22 ) sts from end, turn.

Row 4 (RS): DS, k to prev DS, turn.

Row 5 (WS): DS, p to prev DS, turn.

Rep Rows 4 and 5 until there are 6, 6 ( 8, 10, 12 ) sts bet DS, turn to work RS. Heel Flap Cont with MC Row 1 (RS): Working all DS as you come to them, k to last DS bef side m, rm, k last DS and first gusset st tog through the back lps, turn.

Row 2 (WS): Sl1wyif, p to last DS, bef side m, rm, p last DS and first gusset st tog, turn.

Row 3: (Sl1, k1) to 2 sts before gap made when turning in the last row, sl1, k2tog, turn.

Row 4: Sl1, p to 1 st before gap, p2tog, turn.

Rep rows 3 and 4 until all sts of the gusset are worked, ending on a p row.

Break MC, leaving a long tail for weaving in. 48, 56 ( 64, 72, 80 ) sts total. 24, 28 ( 32, 36, 40 ) sts per needle.

Leg Return to working in the rnd, starting with CC needed for the next chart rnd.

Rnd 1: Work Lolly socks chart on the top of foot, lift bar from betw top of foot sts and heel flap sts, and twist onto LH needle, k2tog, K to one st bef end of rnd, sl1, lift bar from bet heel flap sts and top of foot sts and twist onto LH needle. Sl st on RH needle back to LH needle and k2tog. Gaps closed.

Rnd 2: Work Lolly socks chart around leg.

Cont rnd 2 until leg measures 2.5, 3.5 ( 4.5, 5.5, 6.5 )" / 6 , 9 ( 11.5, 14, 16.5) cm or desired leg length before cuff. Break CC1 and CC2, leaving long tails for weaving in.

Cuff Change to MC Rnd 1: K all.

Rnd 2: (K1tbl, p1) around.

Rep rnd 2 until cuff measures 1, 1 ( 1, 1 ½ , 1 ½ )" / 2.5, 2.5 (2.5, 3.8, 3.8) cm.

BO loosely with your preferred stretchy BO. FINISHING Weave in ends, wash and block gently.

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Use the case sensitive password SPRING Size 1 Chart

Size 3 Chart

Size 2 Chart

Size 4 Chart

Size 5 Chart

Ujjwala Shawl

by Lana Jois @lanajois Dyer Douglas Lopez @knittinbro

FINISHED MEASUREMENTS

One Size 79 inches / 200.5 centimeters wide, 21 inches / 53.5 centimeters deep

YARN

Knittinbro Socks. Fingering weight, 75% Superwash Merino 25% Nylon, 100g/420 m/463 yds. MC- 1 skein Wet Brick, CC- 1 skein Jawbreaker

NOTIONS

Darning Needle

NEEDLES

US 4 (3.5mm) circular needle, 32-inch / 80 cm or size needed to obtain gauge

GAUGE

21 sts and 27 rows = 4”/10cm over Ujjwala Body Lace pattern, blocked Gauge is not critical for this project but a change in gauge can result in different finished measurements and yardage requirements.

For pattern support, contact Lana at drla123@yahoo.com Growth is not just an increase in size or sprouting new. Growth can also come from self-improvement, demonstrating a willingness to change. ‘Ujjwala’, (bright or lustrous), is a shawl that expands radially, growing in beauty, spreading sunshine and light. The lace signifies new sprouts that go on to shape the stockinette segments.

Ujjwala is an airy two color crescent shaped lace shawl worked top-down, and flat. The stitch patterns may be worked from charts or written instructions.

Page 110

Special Stitches: Kyok – (Knit 1, yarn over, knit 1) in the same stitch (2 sts inc).

DIRECTIONS With CC, CO 5 sts.

Row 1 (RS): K2, yo, k1, yo, k2. (2 sts inc).

Row 2 (WS): K2, kyok, p1, kyok, k2. (4 sts inc).

Row 3: K2, yo, k7, yo, k2. (2 sts inc).

Row 4: K2, kyok, p7, kyok, k2. (4 sts inc).

Rep Rows 3-4 twice more. 29 sts.

Body Work Rows 1-12 ten times total, using Ujjwala Lace chart or written instructions below.

Cont with CC.

Row 1 (RS): K2, yo, k to last 2 sts, yo, k2.

(2 sts inc).

Row 2 (WS): K2, kyok, p to last 3 sts, kyok, k2. (4 sts inc).

Row 3 (RS): K2, yo, k to last 2 sts, yo, k2.

(2 sts inc).

Row 4 (WS): K2, kyok, p to last 3 sts, kyok, k2. (4 sts inc).

Break CC, cont with MC. Row 5: K2, yo, *(k1, yo) 3 times, k1, (ssk) twice, SK2P, (k2tog) twice, (k1, yo) 3 times; rep from * to last 3 sts, k1, yo, k2.

(2 sts inc).

Row 6: K2, kyok, p to last 3 sts, kyok, k2.

(4 sts inc) Row 7: K2, yo, k3, *(k1, yo) 3 times, k1, (ssk) twice, SK2P, (k2tog) twice, (k1, yo) 3 times; rep from * to last 6 sts, k4, yo, k2.

(2 sts inc).

Row 8: K2, kyok, p to last 3 sts, kyok, k2.

(4 sts inc) Row 9: K2, yo, k6, *(k1, yo) 3 times, k1, (ssk) twice, SK2P, (k2tog) twice, (k1, yo) 3 times; rep from * to last 9 sts, k7, yo, k2.

(2 sts inc).

Row 10: K2, kyok, p to last 3 sts, kyok, k2.

(4 sts inc) Row 11: K2, yo, k2tog 3 times, (k1, yo) 3 times, *(k1, yo) 3 times, k1, (ssk) twice, SK2P, (k2tog) twice, (k1, yo) 3 times; rep from * to last 12 sts, (k1, yo) 3 times, k1, ssk 3 times, yo, k2. (2 sts inc).

Row 12: K2, kyok, p to last 3 sts, kyok, k2.

(4 sts inc) At the end of 10 reps you have 389 sts (360 sts inc). Break MC. Border Joining CC and MC as needed, work rows 1-15 once, using Ujjwala Border Lace chart or written instructions below.

Cont with CC

Row 1(RS): K2, yo, k to last 2 sts, yo, k2 (2 sts inc).

Row 2 (WS): K2, kyok, p to last 3 sts, kyok, k2 (4 sts inc).

Row 3: K2, yo, k to last 2 sts, yo, k2 (2 sts inc).

Row 4: K2, kyok, p7, *p9, yo, p9; rep from * to last 9 sts, p6, kyok, k2 (25 sts inc).

422 sts. Break CC, cont with MC. Row 5: K2, yo, k9, *ssk, k7, [(k1, yo) 4 times in next st], k7, k2tog; rep from * to last 12 sts, k10, yo, k2 (107 sts inc).

Row 6: K2, kyok, p10, *p2tog, p20, p2togtbl; rep from * to last 12 sts, p9, kyok, k2 (38 sts dec).

Row 7: K2, yo, k12, *ssk, k18, k2tog; rep from * to last 15 sts, k13, yo, k2 (40 sts dec).

Row 8: K2, kyok, p13, *p2tog, p16, p2togtbl; rep from * to last 15 sts, p12, kyok, k2 (38 sts dec).

Row 9: K2, yo, k7, (yo, k1) twice, yo, ssk 3 times, *k2tog 3 times, (k1, yo) 6 times, ssk 3 times; rep from * to last 18 sts, k2tog 3 times, (k1, yo) 3 times, k7, yo, k2 (2 sts inc).

Row 10: K2, kyok, p to last 3 sts, kyok, k2.

(4 sts inc) 419 sts. Break MC, cont with CC Row 11: K2, yo, k to last 2 sts, yo, k2. 421 sts.

Row 12: K2, kyok, p to last 3 sts, kyok, k2.

425 sts. Break CC, cont with MC Row 13: K2, yo, k3, *k2tog 3 times, (k1, yo) 6 times, ssk 3 times; rep from * to last 6 sts, k4, yo, k2. 427 sts.

Row 14: K2, kyok, p to last 3 sts, kyok, k2.

431 sts. Break MC, cont with CC. Row 15: K2, yo, k to last 2 sts, yo, k2 (2 sts inc). 433 sts.

With WS facing, BO as foll: P1, *p1, sl2 sts back to left needle, p2tog; repeat from * to end. Break yarn and pull though last st.

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Ujjwala Border Chart

Ujjwala Chart

FINISHING Weave in ends, wash and block to size.

Light Me Up Crop

by Symone Jennings @wanderfulknits Dyer Shannon Santoso @jadorefibers

FINISHED MEASUREMENTS

Garment circumference: 32, 36, 40, 44 (48, 52, 56, 60) 64 , 68, 72 inches / 80, 90, 100, 110 ( 120, 130, 140, 160) 170, 180, 190 centimeters Armhole depth 6, 6.5, 7, 7.5 (8, 8.5, 9, 9.5) 10 , 10.5, 11 inches / 16, 16.5, 17.5, 19 (20, 21.5, 22.5, 24) 25, 26.5, 27.5 centimeters Underarm to hem length: 13, 12.5, 12, 11.5 (11, 10.5, 10, 9.5) 9 , 8.5, 8 inches / 32.5, 31.5, 30, 29 (27.5, 26.5, 25, 24) 22.5, 21.5, 20 centimeters Total garment length 22 inches / 56 centimeters

YARN

J’adore Fibers Luminous DK. DK weight, 70% Superwash Merino, 30% Silk, 100g/210 meter/230 yards sample shown in Yellow (MC) and Pink, Green, Blue and Red contrast colors.

NEEDLES

GAUGE

US 4 (3.5mm) circular needle, 37-inch / 94 cm or size needed to obtain gauge US 5 (3.75 mm) circular needle, 37-inch / 94 cm or size needed to obtain gauge

28 sts & 56 rounds over 4” / 10 cm in Slip Stitch Loop, in the round, blocked NOTIONS 28 sts & 48 rows over 4” / 10 cm in Slip Darning Needle , Stitch Marker, Scrap Stitch Loop, knit flat, blocked yarn or stitch holder For pattern support, contact Symone at wanderfulknits@gmail.com

Light Me Up is a love letter to the rows of floral delights that adorn the city of Fredericton every spring. The dazzling and vibrant floral gardens on display bring with them feelings of growth, rebirth and joy.

Light Me Up is a sleeveless crop top with a deep armhole and ribbed split hi-lo hem. The body is knit in the round in five color slip stitch colorwork. Front and back are worked separately from armhole to neck and rejoined for a double layer turtleneck.

Notes: For knitting hems, use a longer cable for the front so you can easily slip the back hem stitches onto the same needle or use equal cable lengths and join them together using a cable connector. Once the hems are completed separately they will be joined. Stitch patterns can be found on page 116.

Page 113

DIRECTIONS Back Hem Using smaller needles, CO 110, 124, 138 ( 152, 166, 180, 194 ) 208, 222, 236, 250 sts.

Work 1x1 Ribbing Pattern (worked flat over an even number of sts) until hem measures 4” from CO edge ending on a WS row. Cut yarn leaving a 6” / 15 cm tail. Put the back hem stitches on spare yarn or needles.

Front Hem Rep as for Back Hem until the Front Hem measures 2” / 5 cm from CO edge ending on a WS row. DO NOT CUT YOUR YARN. Join Front And Back Hems Place the front and back hems down on a flat surface with the RS facing towards you (working yarn for both hems will be on the RH side) and the shorter Front Hem to the right of the Back Hem. Joining Rnd: With smaller cable needle (K1, p1) across Front Hem, CO 2 sts using the backwards loop CO, (K1, p1) across Back hem, CO 2 sts using the backwards loop CO. 224, 252, 280 ( 308, 336, 364, 392 ) 420, 448, 476, 504 sts.

PM and join for working in the rnd being careful not to twist your stitches.

Body If using multiple CCs, change to a new CC every 16 rnds (two full pattern reps).

Switching to larger needles, work Rnds 18 of the written or charted instructions for Slip Stitch Loop (in the round) until the body measures approx 13, 12.5, 12 ( 11.5, 11, 10.5, 10 ) 9.5, 9, 8.5, 8 inches / 32.5, 31.5, 30 ( 29, 27.5, 26.5, 25) 24, 22.5, 21.5, 20 cm from the Front CO edge or until desired length ending on either rnd 4 or 8.

Front Cont flat over the front 112, 126, 140 ( 154 , 168, 182, 196 ) 210 , 224, 238, 252 sts. The back sts will rem on hold.

Underarm bind off ALL sizes: Setup Row 1 (RS): BO 7 sts, K across.

Setup Row 2 (WS): BO 7 sts, P across.

98, 112, 126 ( 140, 154, 168, 182 ) 196, 210, 224, 238 sts.

Armhole shaping Cont from the next pattern row (either 7 or 3). If using multiple CCs, remember to change to a new CC every 16 rnds. End after a WS row.

Sizes 1 & 2 ONLY Dec 4 sts every 8 rows as follows until you have 64 (68) sts left on your needle (34, 44 sts dec).

Row 1 (MC): K1, ssk, k to last 3 sts, k2tog, k1 in MC (2 sts dec).

Row 2 (MC): P1, p2tbl, p to last 3 sts, p2tog, p1 in MC (2 sts dec).

Row 3 (CC): (K1, Sl1wyib) across.

Row 4 (CC): (Sl1wyib, k1) across.

Row 5 (CC): K all.

Row 6 (CC): P all.

Row 7 (MC): (Sl1wyib, k1) across.

Row 8 (MC): (K1, Sl1wyib) across.

Sizes 3 & 4 ONLY Dec 6 sts every 8 rows as follows until you have 68 (68) sts left on your needle (58, 72 sts dec).

Row 1 (MC): K1, ssk, k to last 3 sts, k2tog, k1 in MC (2 sts dec).

Row 2 (MC): P1, p2tbl, p to last 3 sts, p2tog, p1 in MC (2 sts dec).

Row 3 (CC): (K1, Sl1wyib) across.

Row 4 (CC): (Sl1wyib, k1) across.

Row 5 (CC): K1, ssk, k to last 3 sts, k2tog, k1 (2 sts dec).

Row 6 (CC): P all.

Row 7 (MC): (K1, Sl1wyib) across.

Row 8 (MC): (Sl1wyib, K1) across.

Row 9 (MC): K1, ssk, k to last 3 sts, k2tog, k1 in MC (2 sts dec).

Row 10 (MC): P1, p2tbl, p to last 3 sts, p2tog, p1 in MC (2 sts dec).

Row 11 (CC): (Sl1wyib, K1) across.

Row 12 (CC): (K1, Sl1wyib) across.

Row 13 (CC): K1, ssk, k to last 3 sts, k2tog, k1 (2 sts dec).

Row 14 (CC): P all.

Row 15 (MC): (Sl1wyib, K1) across.

Row 16 (MC): (K1, Sl1 wyib) across.

Sizes 5, 6, 7 (8 , 9, 10, 11) ONLY Dec 8 sts every 8 rows as follows until you have 70, 72, 74 (80, 82, 84, 86) sts left on your needle (84, 96, 108 (116, 128, 140, 152) sts dec).

Row 1 (MC): K1, ssk, k to last 3 sts, k2tog, k1 in MC (2 sts dec).

Row 2 (MC): P1, p2tbl, p to last 3 sts, p2tog, p1 in MC (2 sts dec).

Row 3 (CC): (K1, Sl1wyib) across.

Row 4 (CC): (Sl1wyib, K1) across.

Row 5 (CC): K1, ssk, k to last 3 sts, k2tog, k1 (2 sts dec).

Row 6 (CC): P1, p2tbl, p to last 3 sts, p2tog, p1 (2 sts dec).

Row 7 (MC): (Sl1wyib, k1) across.

Row 8 (MC): (K1, Sl1wyib) across. 13, 12.5, 12 ( 11.5, 11, 10.5, 10 ) 9.5, 9, 8.5, 8 inches ALL sizes RESUME Row 1 (MC): K1, ssk, k to last 3 sts, k2tog, k1 in MC (2 sts dec).

Row 2 (MC): P1, p2tbl, p to last 3 sts, p2tog, p1 in MC (2 sts dec). 60, 62, 64 ( 64, 66, 68, 70 ) 72, 74, 76, 78 sts.

Put Front neck sts on hold. Break your MC and CC yarns leaving tails for weaving.

Back Joining your yarn on the RH side of your garment, work the Back as for the Front from underarm bindoff. Break CC leaving tail for weaving in.

Turtleneck With smaller needles and MC, (K1, p1) across the back neck to the LH shoulder, cont across front neck, pm for BoR at RH shoulder and join for working in the rnd.

Work 1x1 Ribbing Pattern (in the round over an even number of sts) until turtleneck measures 6". Using a stretchy BO, BO in patt. Break yarn leaving a tail long enough to whipstitch the entire circumference of the neck.

FINISHING Turn the garment inside out with WS facing. Fold the turtleneck down and using the tail end, whipstitch the BO edge to the base of the collar. Weave in ends, wash and block to size.

Slip Stitch Loop (worked flat over an even number of sts)

Stitch Patterns 1x1 Ribbing Pattern (worked flat over an even number of sts) Row 1: (K1, p1) across Row 2: Rep row 1 1x1 Ribbing (in the round over an even number of sts) Rnd 1: (K1, p1) around Rnd 2: Rep Rnd 1

Slip Stitch Loop (in the round over an even number of sts) Rnd 1 (MC): K all.

Rnd 2 (MC): K all.

Rnd 3 (CC): (K1, Sl1wyib) around.

Rnd 4 (CC): (P1, Sl1wyif) around.

Rnd 5 (CC): K all.

Rnd 6 (CC): K all.

Rnd 7 (MC): (Sl1wyib, k1) around.

Rnd 8 (MC): (Sl1wyif, p1) around.

Slip Stitch Loop (worked flat over an even number of sts) Rnd 1 (MC): K all.

Rnd 2 (MC): P all.

Rnd 3 (CC): (K1, Sl1wyib) around.

Rnd 4 (CC): (Sl1wyib, k1) around.

Rnd 5 (CC): K all.

Rnd 6 (CC): K all.

Rnd 7 (MC): (Sl1wyib, k1) around.

Rnd 8 (MC): (K1, Sl1wyib) around.

Slip Stitch Loop (in the round over an even number of sts)

GET IT ON RADICLETHREADS.COM @RADICLETHREADS

meet the designers Page 118

My name is Claud, I am an Indigenous fiber artist.

I’ve been dabbling in fiber arts like knitting, crocheting and fiber spinning since I was about 8 years old, and became serious about it 5 years ago. I enjoy a challenge, and like picking up artistic endeavors to keep my creativity flowing. Claud Contreras I grew up in California and spent my summers in Taiwan and Hong Kong, where my parents are from.

I enjoy designing meaningful pieces inspired by my culture and history that can be worn for years to come. I hope knitting brings you as much comfort and joy as it has me. Tiffany Wong

I am Pamela, a wife and mom of four grown children, and a blessed grandmother. I have been crocheting and knitting for over 30 years. I love to design modern, cozy, and comfortable crochet and knit patterns for family and home. Pamela Kuloba

I’m Clarisabeth, the designer and creator behind crochetcakes. My crochet designs are inspired by my love of vintage and history. When not crafting, you can usually find me in a corner with a book and a cup of tea. Clarisabeth Lopez Rodriguez

Hi, my name is Rose Obom. I am a mother, wife, sister and avid crafter.

Few things in life give me pleasure; crochet is one of them. Rose Obom

I’m Chandana, a corporate executive by day and an avid crocheter. I learnt to crochet intricate lace work at 12. Crochet is meditative, a passion and a personal space of creative expressions. I like to work and design using colorwork techniques like mosaic, overlay, brioche etc Chandana Kiran

I use crochet to celebrate everyday life. Whether it's my niece's graduation, sharing a delicious mango, or my mom's love of flowers, inspiration is everywhere! My nieces and nephew call me "Tiya" — Tagalog for "aunt" — and it's a title I hold dear. Putting "XOXO, Tiya" (xoxotiya) on this work is my way of saying how much care and love I put into it. April D. Rongero

Hi, I'm Kae, a self-taught knitter, crocheter, and spinner. I was born and raised in New Jersey, where I currently live with my spouse and our four children. Numbers are my favorite thing, and my designs are often inspired by geometry and other mathematical concepts.

Kae Gregis

See her bio page 122. Lana Jois Mari mari, Buerie biejjie! I’m an indigenous, Mapuche and Sami crochet designer known as ÑukeNïejte. Ñuke is the word for mother in mapudungun, and Nïejte is the word for daughter in southern Sami - together they describe how it all started with my mother teaching me how to crochet as a child, and how it all continued with my daughter coming into this world, making me feel a sudden urge to express myself through, and a responsibility to be able to pass down the knowledge of textile art. Piece by piece, every design brings me closer to my ancestors, communicating through the language of textile.

Amanda Calbucura Marklund Hi! My name is Lynnette, and I’m an Australian freelance knitwear designer. ‘Practicality but make it whimsical!’ is the foundation of my whole design philosophy, it's something I incorporate not only into my work but most facets of my life.

I’ve two delightfully spirited daughters, and designing for them and my husband is an endless source of inspiration.

Too many ideas, what is time?! Lynnette Hulse Hi! I’m Symone and I’m a knitwear designer who is motivated to maintain a consistently warm body temperature and look good doing it. My designs are inspired by my passion for fibre, my favourite things in life and my travels. As an avid wanderluster, the journey is just as important to me as the destination and I want makers to enjoy crafting my patterns just as much as they enjoy wearing their finished creations.

Symone Jennings

meet the dyers

I’m Imani and I am a small-batch dyer hailing from Buffalo, NY. I’m a proud pet mom of three amazing fur babies and beer enthusiast! I draw my inspiration from various muses such as music, surroundings and of course the Buffalo Bills!

You can purchase yarn when available on my website at https://knottybuffalo.com. Imani Horton

I'm Stephanie the owner and dyer of Verse Yarns, LLC--a small batch hand-dyed yarn business located in Bel Air, Maryland. My style reflects my personal affinity for sophisticated neutrals and aesthetic thrives in nuanced and moody colorways while reaching into vibrant colorways as well. The colorways are inspired by small moments found in our everyday lives. Website www.verseyarns.com Stephanie Thompson Opposite Coast Dyes is Diana, living on the East Coast and Jacqui on the West. We both care about the environment and dye with only non-superwash yarn/fiber. Our yarn labels are made with paper embedded with wildflower seeds so you can plant the label in the ground or a flower pot to grow flowers.

Diana Gee & Jacqui Hudson-Underwood

I am a Black British, OOAK Skein Queen who keeps the colours popping at FLYY Dyed.

This year you'll see me curating small batch collections based around a central theme. You can find me at www.flyydyed.com Rachel Barry

Hi, my name is Doug and I’m the one man show at Knittinbro Yarns.

Im originally from El Salvador, but for the last 20 years I’ve been living in Pennsylvania with my cat Nacho.

I started dyeing yarn as another creative outlet and also I wanted to create colors that could cater to guys in the fiber community. Doug Lopez

A Chinese-Indonesian American yarn dyer based in PA. My other hobbies are reading (mostly sci-fi and horror), cooking, baking, and the newest one is anything including houseplants. I love food of all kinds and I draw inspiration for dyeing from my hobbies as well. Lately, I’m all about fruits.

Website: jadorefibers.com Shannon Santoso

Page 120

Hello, this is Corinne, the head dyer behind Hawari Bazaar.

Since 2017, we've specialized in producing high quality & luxurious hand dyed yarns from the Mitten state, Michigan.

Obsessed with all things craft, when not dyeing up a storm, Corinne likes to lose herself in knitting, painting and drama watch parties with her friends.

You can find Hawari Bazaar yarn and makes on our website www.hawaribazaar.com Corinne Hawari

I’m Lauren and I’ve been a knitter and crafter for 20+ years. I attended college for Clinical Nutrition at UC, Davis and then became disillusioned with the medical profession. Next, I went to culinary school and cooked for several years until I became disheartened with that profession too. I am much happier cooking yarn and fiber in my kitchen in the mountains.

I specialize in self striping sock yarn inspired by nature and pop culture. In my free time, I like yelling in the streets when human rights are infringed upon, (legally) smoking weed, and petting kittens. Lauren Brien-Wooster

Hi, my name is June and I am the dyer behind Fortune Yarn Co. I am based in Adelaide, South Australia and Darwin, Northern Territory where I dye yarn from my home. My work is inspired by anything from crystals, nature and all things colourful. Website: www.fortuneyarnco.com June Sukho

I, Theresa, am the owner of Ewe-Nited States of Fiber, as well as an ICU/ER RN, US Army Airborne veteran, and a fiber & dye artist from Delaware. I have been knitting and crocheting since early childhood and spinning and dyeing since 2014. I LOVE teaching people how to do all things fiber: knitting, spinning, crocheting, fiber prep, and dyeing at local fiber festivals, retreats, and at Wild-Hand! I am a wife and a mother to three Ah-mazing young men.

Website www.ewenitedstatesoffiber.com Theresa Hill I am Megan, a queer and Afro-Indigenous (Saponi-Catawba Nation) migrant woman living in the Connemara Gaeltacht in the Republic of Ireland. I have years of experience along with a family legacy of textile production. Connemara Wool brings traditional methods with a modern view on sustainability and believes that locally sourced, low-impact textile production is not only a necessity but an opportunity. Connemara Wool seeks to transform the production of textiles to mitigate climate change, contribute to racial and economic equity and improve the health of production chains within Connemara and Ireland. Megan Maria Ayers

T e c h E d i t o r s

Meet Sareena

@DressLikeAnOnion

I am a technical editor, interior designer, and textile artist, with roots in the Seychelles, East Africa and Gujrat. I have degrees in Psychology and Interior Design and my working life started crafting accessible public spaces, primarily in education and healthcare.

Today I tech edit and grade, test knit and sew, sample knit, quilt. I can draw, and sing, and dance, and cook, but I hope no one will ask me to. I have started demolishing my kitchen island (finally). I am most often found listening to murder mysteries or Stitch Please podcast and hoping someone will bake me a pie.

Lana Jois has been designing knit and crochet garments and accessories for years now. An effort to help designers write polished patterns brought her into the world of technical editing. A penchant for perfection combined with meticulousness in everything she does and the desire to make patterns more accessible and easy to follow are her driving forces.

Meet Lana

@lanajois

Photo Credit: Esther Cho @estherchophotography

Nina is a Lao-Canadian illustrator by trade and a fiber artist by passion based in Calgary, Canada.

She discovered punch needling in 2017 and was instantly attracted to the expressive and tactile nature of the medium. Nina’s work focuses on playful motifs juxtaposed with muted color palettes made primarily with locally sourced yarn from Canadian sheep farms. Recently, Nina has begun to evolve her work, moving from small patches to incorporating her work into upcycled furniture which she restores by hand and augments with her work.

Where to find me: Website: www.Fandapress.com Instagram: @fandapress

I discovered punch needling through Arounna Khounnoraj’s Instagram page, a fellow LaoCanadian artist, where I witnessed her creating captivating work all made with a simple tool: the punch needle. It was love at first sight. The versatility of the needle, the myriad techniques, and the ability to incorporate it into other mediums for more variability and depth made it such an alluring craft. The best advice I have is not to be dissuaded by setbacks or paralyzed by the fear of failure. It’s easy, especially with social media, to be inundated with the highlight reels of our peers but difficult to remember that behind every amazing project there is probably a small wastebasket filled with the misfortunes of many failed attempts and forgotten experiments.

Page 123

My name is Monique Disu-Casey and I am the owner of M Casey Designs LLC. I am a mother of 3, wife of 17 years, and grand-mom of one little firecracker, but most of all I am a business women who is just finding her groove at 37. Throughout my life I’ve always been creative whether it was photography, drawing, building it’s always been something. The creative side of me is what I use as my self care, my way to relax and put all of my love and energy into my pieces.

I’ve always jumped around from craft to craft until 3 years ago when I began wood work, I needed a new bench and couldn’t find what I wanted so I watched a few YouTube videos bought a saw and built my bench. The joy I had when I saw what I made with my own hands was the best feeling, at that moment I realized I found what I had been missing and what I was supposed to do. I still get excited when I see the same joy in the eyes of my clients, it’s honestly what keeps me going. If I was to give anyone advice it would be to trust yourself and do what makes you happy even if you don’t see a lot of people like you doing it, don’t let anyone tell you what you can’t do!

Where you can find me: Instagram & TikTok @m.caseydesigns On fb @monique.Caseydesigns

Page 124

Hello, my name is Lucy Peltier. I am an embroidery/textile artist and blogger from London. I design embroidery patterns, printed fabric and stitched products inspired by nature, the seasons and the richness of her mixed heritage. I love nothing more than immersing myself in the beauty and wonder of the woods, a pretty garden or the countryside.

I have been designing embroidery patterns for just over 2 years now, although I have been crafting in various forms for many years. I am mostly self taught and was drawn to hand embroidery because I found it so relaxing and rewarding. As well as having a connection to nature and the seasons, my designs are inspired by my story and experiences as a woman of mixed heritage (I have English and Kenyan ancestry).

Through creativity and storytelling, I aim to represent and celebrate diversity. My tip to any budding embroidery artist is to just get going, start simply and be kind to yourself!

Where you can find me: Instagram & Pinterest @lucyludreams, blog: www.lucyludreams.com

Page 125

CROCHET

s n o i t a i v e r b ab

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 abbreviations

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 MC main color P purl P2tog purl 2 stitches together; single decrease Pfb purl into front and back of a stitch 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