From the current issue of Twist Collective, a sleeveless pullover in Tern. Designer Megan Goodacre has a feel for understated details: A bit of waist shaping, an eyelet/garter stitch bottom border punctuated with a column of small buttons,
and two more small buttons placed at the corners of the squared neck.
We think Megan has an affinity for Tern, remember Hamilton, her graceful scarf from Scarves, etc.? A beautiful interplay of stitches and yarn.
Very honored to have another Q&Co project featured in the latest issue of the UK magazine Molly Makes. This time, the piece is the Jonna Cowl. Do you remember it? Designed in Chickadee by Carolyn Kern and featured in our Scarves, etc. collection. The color is Bird’s Egg. Fits nicely with the cover palette–those lip-smacking faux cookies in pretty icy pastels.
Love this post from 1391 Miles Apart. Stephanie used sturdy garden twine to knit this practical scrubbie. But imagine it in Sparrow. A little linen yarn would be gentle on grandmother’s porcelain tea set. No?
Looking at this photo makes me want to get up and wash some dishes.
What does a tea cup have to do with a sweater? Well, they’re both the result of careful design and experienced craftmanship. No? They often share a certain delicate patterning–pretty details that make you smile. You agree?
See the picture below for our first preview of Wool 3–due out next week.
Taking a picture of a knitted piece is more than making a clinical snap shot. Much as we need to shoot specific details to aid the knitter, we try, too, to show the intangibles. We want to convey the feel, literally, of the piece itself. Is it soft or rugged? Drapey or structured? Does the stitch pattern stand out or disappear?
Beyond trying to show a knitted fabric in a way that your hand might understand if you were to touch the piece, the picture needs to tell a story. The parts therein need to come together harmoniously, intelligibly. The styling, palette, location, camera angle–everything in the frame of the picture has to support, bring home, the knitted project.
Not that we go around at a shoot consciously checking off things on a list. Much of this is instinct and accident. Sometimes it all comes together in such a satisfying way. Other times, something is missing.
For this Sparrow shawl–we took a walk at noon to see if we could find the perfect setting. Carrie (photographer) stopped us in front of an old Victorian house. Perfect.
I love the background of the magnolia tree starting to shed its flowers, covering the ground with perfect petals. The antique iron fence and sunlit path provide a sense of place. The perfect profile posture of the model lends a formality to the picture that fits with the upright vertical lines of the fence. The breeze and the way Ari is holding the shawl show off its drape.
What might we do over, if we could? Perhaps the white top underneath the shawl. Much as its color and embroidery fits with the overall mood, the pale top doesn’t provide enough light/dark contrast, making it difficult to see the striking lace patterns Bristol Ivy used in Rue. Still, I love this shot, even if it isn’t perfect in all respects.
That said, we have over a hundred shots to choose from. And I can give you, tada!, a detail shot that let’s you caress with your eyes the rhythm of those pretty yarn overs.
