Inspired by the intricate patterns of chain maille, these highly cabled fingerless gloves look more complex than they are to knit. Though not as stretchy as some of my other patterns, the thumb gusset gives the gloves a comfortable fit.
These are knit from the bottom cuff up. They are knit in the round.
Special skills: • Knitting in the round • Increase & Decrease • Cable stitching
Size: Adult Approximate finished measurements: Glove length: 8.75 in (22.23 cm), Flat width: 3 in (7.6 cm) – 1 in larger in thumb gusset area.
Needles: US 7 (4.5 mm) double pointed needles – set of 4 recommended. Tapestry needle.
GAUGE US7 – 20 st + 24 rows = 4˝ (10.16 cm) in unblocked stockinette stitch.
My mini electric eel wheel has allowed me to explore spinning up yarns this year. With a variety of fibers, I’ve been able to explore very fine barber pole yarns to chain-plied long run color transitions.
Some prints get wrecked in the printing process. It makes sense that hand-printed works are more susceptible to flaws than mechanically printed ones, but knowing that still doesn’t make it any easier to take. Inconsistencies – whether it’s ink flow, a knick in the stencil, a fingerprint or smudge – can ruin a perfectly good print. It happens. It’s just part of the process. I know this, yet I still take the flaws pretty hard.
But I got tired of feeling this way and sought to do something about it. Rather than looking at flaws as a door closing, I decided to look at them as a window opening. By doing so, there’s an opportunity to add new ideas or, in this case, make corrections. I embraced the flaws and just canceled them out. Literally.
My first step was to unearth slightly less-than-perfect prints from the depths of purgatory (i.e. the neither-here-nor-there void of the flat file) and assess the damage. Next up was fixing them. That’s achieved here by masking the flaws with a big, blunt mark. Simple as that. Rather than just erasing the flaws, I chose to acknowledge and celebrate them.
In some cases, crossing out the mistakes added to the composition. In others, it was just a means to an end. While making perfect compositions was certainly not the goal, there are some beautiful moments to behold.
There’s beauty in everything. Finding it is just a matter of perspective. Clearly my interest in signage, typography, and found objects influenced the direction, but, in retrospect, there are other references that come to mind, like the butterfly joint in a George Nakashima table or even the knots in a piece of plywood.
These days, it’s about accepting what comes your way. Taking each day as it arrives – with all the highs and lows – and making the best of it. That, in a sense, is what the Correction Series is all about.
Here’s a monoprint that made a cameo appearance in a recent video for Grant Design Collaborative. I was wavering on whether this one was complete, but with a slight trim (and some much-needed time/distance) this one is officially complete. Nine colors on white.