I have been making a lot of tiny purses lately. They are an ideal pandemic distraction: small, portable, quick to make. They are stash busters. They are easy to knit while watching Neflix . . . They make great gifts for loved ones far away, or next door.
Welcome, Change! is More Than Just A Change Purse
All of the new On The Go! tiny purses are as practical as they are great looking. Welcome, Spring! and Welcome, Change! are ideal change purses, but they are also lovely trinket and treasure bags. I’m making one for my mom for Mother’s day. They make lovely hostess gifts, and you can make one in the evening and complete all the finishing the next day.
Ready, Set, Go! Is The Perfect Shopping Companion
Ready, Set, Go! is the little purse I clip to my big bag and take with me everywhere. Truly. My little black one is clipped onto a new tote I will tell you about soon . . . but the point is that she can carry my most-used credit cards, folded bills, change, and I clip my car and house keys to her little key chain set up on the back. I grab her and go! I love that I don’t need to dig through my tote to find my credit card. I’m already checked out and out the door while some folks are still putting their groceries in bags one at a time.
Clip It! Can Keep You Organized . . . And Safe
And Clip It! She can carry everything Ready, Set, Go! can but she can also carry your pen, your glasses. Know someone who has complained that she can’t find a cute bag for her epi pen? This is it! If my dad would carry a little purse, he’d love it. He has his pen with him at. all. times. Just the other day, I clipped Clip It! to my knitting bag. She now keeps track of my short double-points, my needle case, my stitch holders, and my long skinny needle gauge. I stowed my glasses in the other one. . . the one I dressed up with a sugar skull ornament and some cabochon rivets. Noni has more decorative ornaments coming soon . . .
Welcome to Welcome, Spring!: A Beautiful Easter or Mother’s Day Gift
And the absolute newest tiny purse is Welcome, Spring! a special edition pattern that you can only get if you purchase the On The Go! purse pattern (contains the trio of Welcome, Change!; Ready, Set, Go!; and Clip It!) or one of the singles (each purse is also featured in her own pattern at a half the price of On The Go!). You must also purchase at least one On The Go! purse hardware kit and then I’ll send Welcome, Spring! to you as my gift.
If you have already purchased the pattern and a kit, please take a picture of your order confirmation or the kit and pattern and send it to me at firstname.lastname@example.org and I will send you your pattern.
Until Thursday, February 25, get 15% off orders of $50 or more. JUL Leather handles and kits that include leather handles are excluded. Use Promo code blog15off50 at checkout and then be sure to press APPLY to activate your discount.
You can make your own On The Go! tiny purses! Or shop the entire Noni Store Now. Welcome, Spring can be not only the prettiest key chain you’ve owned, but you can attach a chain and locket and carry her as a wristlet. An Easter or Mother’s Day Corsage that is also practical. Make Something Beautiful!
My purses and bags often begin with hardware components. What I mean is, I design around a particular piece of hardware, or a handle. This purse was no exception. I had been collecting sew-in purse frames for some time. I knew I wanted to design purses for them. Just one sticking point. I think sew-in frames look terrible when the sewing through those little sew-holes is visible. I stared and stared at those holes trying to figure out how I could make the stitches look pretty, or hide them.
And then one day I had the idea to use seed beads as anchors for stitches that went through the holes but not around the frame. So, instead of stiches that had to move from fabric around the frame, into a whole, and then around the frame again, my concept was to put the needle through each hole twice, with a single bead on the outside to hold those stitches in place and the purse in the frame.
That epiphany exploded my purse and bag world . . . and took a little bit of the knitting world by storm!
I had solved an engineering iproblem. Now for the design itself. I write about the inspiration for Lipstick and Change in the “liner notes” for the purse:
I remember one of the first purses I ever owned: a gift for my birthday, it was made of black leather that was soft to the touch. It was tiny. Perfect for treasured things when I was a little girl and then for grown-up girl things, like lipstick . . . and change. It carried these essentials until its sweet little kiss lock would no longer kiss.
Lipstick and Change is my effort to recapture that beloved first purse. My update is colorful, playful, and has 3 size options (who doesn’t love options?).The tiniest size is perfect for when you can leave the house with just about nothing except a car key, lipstick, and a few crisp bills.
The medium size is ideal for the after party where smart phones are just not cool. And the celeb who spots your bag will probably ask you where you got it.
And the largest size is large enough for an I-phone and everything you really need. You really can’t make just one.
They are speedy purses to knit, and relatively quick to finish. They make great gifts: an economical gift, both in terms of time and cost.
Make Your Own Lipstick and Change!
If you’ve always had a mind to try making Lipstick and Change, now is a great opportunity. Below I have included the pattern for the smallest size.
Small Lipstick and Change Pattern
The knitting is intrepid Easy: Requires knowledge of knitting and purling, knitting in the round on circular needles, and some hand-sewing during the finishing process.
Abbreviations Used In The Pattern
BO Bind off
CO Cast on
K3tog Knit three stitches together
Kfbf Knit in the front, back, and front of the stitch
pm Place marker
RS Right side or knit side
St st Stockinette stitch
WS Wrong side
20 stitches and 28 rounds = 4″ (10cm) in stockinette stitch
Post-Felting Approximate Finished Measurements
4″ (10cm) wide across the front/back at bag bottom x 4″ (10cm) wide across the front/back at bag top x 2″ (5cm) deep4″ (10cm) tall from bottom to frame
75 yds (69m) of worsted weight feltable yarn
Knitting Needles & Other Materials
Size 8 (5mm) 16″ (40cm) circular needles or needle size to obtain pre-felted gauge
Sharp sewing needle
1 Stitch marker to mark round
1 Noni Lipstick & Change Bag kit: Includes frame, 10″ chain, clear, silver-lined seed beads, white nylon beading thread, stiffener for the bag bottom, and 6 tiny bag feet.
Awl or size 6 (4mm) double-pointed needle to help with the finishing process
Clear-drying fabric glue or Locktite Extra Time Control super glue
Small Lipstick and Change Purse Instructions for the Bag Bottom and Body
With a single-strand of yarn, CO 24 sts. Work in St st for 16 rows. BO. With the RS facing you, pick up and knit stitches around the bag bottom, beginning with a short side as follows: *pick up and knit 6 sts, pm, pick up 6 more sts across the short side, then across long side, pick up 24 sts; repeat from * once for remaining short and long sides, pm for beginning of the round—72 sts.
Round 1: Join and knit in the round as follows: *knit across short side, k6, [kfbf, k1] 6 times, k6; repeat from * once more—96 sts.
Round 17: Divide the sts in half to create the 48-st bag flaps as follows, removing markers as you come to them: knit across short side, knit across long side, k6 short side sts, rm; join a new ball of yarn and k6, knit across long side, remove beginning of the round marker, k6.
Row 1 (WS): Turn and work flaps simultaneously with separate yarns, p48 across each flap.
Rows 2 – 7: Work each flap in St st.
Row 8 (RS): K3tog 16 times—16 sts each flap.
Rows 9 – 10: Work in St st.
Row 11 (WS): BO knitwise. Weave in ends.
Felting, Blocking, and Finishing
Prepare to Felt Your Purse
It is imperative that you have your purse frame available to check the size of the purse so that you do not over-felt. For best results, felt your bag until it the flaps are about 1 inch wider than the entire width of the purse frame. Once the purse is the desired size, rinse and then spin until slightly damp. Keep the purse slightly damp (not wet) in a plastic bag in the fridge until you can glue the purse into the frame (see below).
Felting in conventional (non HE) top-loading washers
Place items to felt in separate lingerie bag(s) or zippered pillow protector(s). Make sure any ends are cut to no longer than 2″ (5cm). Choose the smallest load size that accommodates your project and allows it to move freely – in this case, the extra small – small load size. Add tennis balls, sport shoes devoted to felting, or a soft canvas bag to the load to provide extra agitation and balance. It is critical that you do not use towels or other items that will release lint onto your felt. Choose hot/cold water setting and add a tiny bit of detergent. Check often and move the bag around in the washer, making sure no set-in creases develop.
To conserve resources, turn back the agitation dial until the bag is finished felting to your liking or reaches the finished measurements here, rather than letting the machine complete multiple cycles. When your bag has reached the proper size, rinse (with no agitation or rinse in cold tap water) and spin dry. Remove and pull into shape.
Felting in HE/front-loading washers
For those with washers that cannot be opened or do not provide agitation, or those with high-speed spin cycles that might crease your bag, felt in the clothes dryer (below).
Felting in a clothes dryer
Soak your project in boiling hot water for about 10 minutes. Put in the dryer. Felt just as you would in the washer: the agitation of the dryer and project wetness is what causes the felting. Stay close by, smooth out, check size, and re-wet often. Once the bag has shrunk to the desired measurements, pull it into shape using the photographs on the cover to direct your efforts.
Apply clear-drying fabric glue (instant-bond glues not recommended) into the “slot” of the purse frame using the flaps in place while the glue dries with long basting stitches that go through the purse fabric, through a frame hole, and around frame to another hole 2 – 3 holes from previous one. Remove basting stitches once glue has dried.
Use a needle and beading thread to sew flaps to the purse frame. Beginning on inside of purse, bring threaded needle through felt, through a metal purse frame hole, and through a bead.
To reach the next sew-hole, angle the needle toward that hole as you put it back through the same frame hole the needle just came out of. Pull snug. Your needle is now on the inside of the bag: again, angle the needle toward the next sew-hole as you place the needle through the bag almost where it came out. You can also put a bead on the thread here on the inside for a lovely effect. Repeat steps until each hole on frame exterior is filled with a bead. Finish off thread with a knot and cut.
Line the Bag Bottom with Stiffener and Attach Bag Feet
Cut two pieces of stiffener that fit nicely in the bag bottom. Use bag feet to secure this first piece in the bag as follows: Use a paper hole punch to punch holes in the stiffener at even intervals for bag feet. Use an awl or size 6 (4mm) double-pointed needle to create a hole for the bag foot prongs in the felt. Insert the prongs into the little hole and press through both the felt and bag stiffener piece already positioned inside the bag. Open the prongs and press down.
Repeat at desired intervals. Last, place the second sheet of stiffener inside the bag and tack in place. If desired, it looks nice to “line” this second sheet of stiffener with some fun fabric.
The dining room in my house is the only room with twelve foot ceilings. It has fantastic light, even though it’s North-facing: the french doors open into the garden. In Spring and Fall, and even some Summer days when the breezes are lovely and the humidity low, I open the doors wide and the air sweeps through the house.
I’ve always loved this dining room. But it has been little used in the nearly sixteen years since we have lived in this house. Like many formal dining rooms, it was an homage to a different time and a different way of living. If we all sat down together at the big table, it was at Thanksgiving and then again at Christmas, perhaps New Year’s Eve if my husband’s parents were visiting. But maybe not even then.
The kitchen, as in many households, is the center of our home universe. And when family or friends gather with us, it is in the kitchen . . . or it is in one of the outdoor dining rooms I have created in my garden. So the dining room sat silent and empty. My studio was in a spare bedroom that we deconstructed, re-insulated (even the ceiling), re-constructed, and redecorated. A wall of books, my favorite red Federalist era Empire couch in carved mahogony. My Empire library table desk, a barrister book case full of yarn and pretty little bags I’ve made over the years.
The pandemic has re-vised the way we use our house, however. My engineer husband has been working at home since March. At first, we set him up on a spare table in our bedroom. This is what a lot of people have done. But our bedroom is cozy and dark while my husband craves the sun. It wasn’t long before he was miserable: irritable, depressed. Pandemic life is hard enough, isolating and depressing enough . . . I insisted he move into the studio where the light is lovely and the space calm and comfortable. It agrees with him very well.
This made me a creative nomad. I moved to the kitchen because I needed the horizontal surface and our kitchen island is nice for big projects. But soon every horizontal surface was colonized by my projects: it was a chaos of books in various states of being read, knitting projects, sour dough bread rising, a stack of nutrition texts and cook books from the library stacked next to the huge fruit bowl I keep stocked with apples, bananas, plantains, mangoes, oranges, dragon fruit, and sometimes papayas, starfruit, plums, peaches. It all depends what is in season.
I don’t like to pack up my projects all the time, so there was a lof of moving things aside with a slow sweep of one arm in order that we could sit down at the counter and have a meal together.
“Mom, you need to clean up your messes,” my fourteen year old son said soberly one day, annoyance at the edges of his voice, “You’re colonizing the kitchen,” he said a few minutes later, wirh irritation and some indignation. Hearing him say this made me feel very proud and pleased. How many times had I said the same thing to him? He was right, of course.
I moved my projects to the den. This created problems, too. I needed my own room.
The guest room was not ideal because I didn’t want to be a nomad again if we had guests, even if the prospect of guests is a long way off. I wanted a permanent place to rest. And a big table. And good light.
“I’m taking over the dining room,” I said to my husband one afternoon. I stood in the doorway of my once-studio and now his 10-, 12-, 14-hours a day workspace. His fingers continued to click on the keys for a moment, his back to me, as I stood there, leaning on the door frame.
“That’s good,” he said as he turned around. This surprised me a little, because he had argued against me turning the guest bedroom into a studio space. But Misha is exceedingly practical, a n engineer through and through. He is also a casual person, more interested in connection than formality. More interested in using things now than in putting them away for some future date or some rarefied use.
“Maybe we are finally figuring out how to use all of the rooms in our house,” he said, thoughtfully.
“I’m not going to give it back,” I said to him as I walked from the studio into the kitchen one evening to start dinner, thinking about our post-covid re-arranging. He should keep that work station in the old studio, so he can work comfortably from home. And, anyway, I have to wonder just what our relationships will be with big campsuses of colleagues after we no longer need to worry about the coronavirus.
“Good,” he said. “You don’t have to.” He smiled and I smiled back.
I’m still working out the best way to ship orders out of my new space. And I am only just starting to go through the boxes of my things that lived all spread out in the Noni Studio in the Savage Mill when I had my little store front. It is not easy to winnow down three separate rooms of creativity into one. I still don’t know where everything is. Yesterday, I found a box of fabric I didn’t remember, and, finally, I located the old hat box full of special one-off purse frames that I want to design bags for. It will be, I think, a long process of unpacking, re-organizing, re-arranging.
For now, I sit on my beatiful white couch, or at my big work table and I look often out the tall windows of the French doors. The Carolina Wrens often scritchand hop in the dry leaves that have collected in the covered nook just outside the doors. They chide and argue. And just the other day, as I was gazing out into the woodland garden I have sculpted ourside, a fox walked across the brick patio, to my astonishment, because I had just been writing about the fox in the Morning Pages.
“I’m in the right place,” I thought, sitting down on the white couch again after dashing outside to see where the fox had gone.
In the Springtime, I’ll open the doors wide and the divide between the inside rooms and the outside rooms will collapse, at least until nightfall. That’s what I’ve always wanted, to walk right out of my studio and into the garden. . .
Have you had to get creative about creating a work and creativity space for yourself? I’d love to hear in the comments how you have adjusted to this new way we are living and working.
My life as Noni started years ago during a lonely stretch of time when I was a graduate student at the University of Maryland and living in Baltimore City–in Charles Village and later Bolton Hill for those of you who are local to me here in Maryland.
My father and stepmother still lived in Maryland then and invited me to spend the weekend with them. Our adventure: a trip to the Mannings, a destination knitting and weaving store for generations that has since then sadly closed. As most of us know, the sample sells . . . I walked into the shop and saw a Dale of Norway colorwork sweater on the mannequin. Arranged below were balls and balls of Dale of Norway yarn.
I made the sweater exactly as you see it above. To practice – I had not knit anything of any consequence since I was about 13! – I made the hat on the way home. I am a continental knitter and had no experience with color work. I just (to this day I do this) knit with one color, dropped that strand, picked the other up, knit with that, and so on. I’m slow but my knitting stays nice and flat.
I worked on that sweater as a sort of solace. This was before smart phones, before the days of social media and constant interruption. I didn’t even have a TV. I would knit in the quiet of my Baltimore row house, the sound of the clock ticking, the radiator clancking periodically. It was the sweetest meditation.
When the sweater was finally finished, I took it to the local knit shop, Woolworks on Falls Road. It, sadly, closed last year, but it was a veritable institution for generations of knitters. I took it there, laid it on the counter and said, “I need to finish the plackets and cuffs with embroidery. Do you have Dale of Norway yarns?”
Two ladies crowded around the sweater and started inspecting it, running their fingers over the stitches, looking at the pattern created by the carries on the inside of the sweater, turning it over, inside out, looking at every inch, fingers delicately following the purl row that allows a flat turn at the collar and cuffs . . .
“Did YOU knit this?” said W, a pretty, petite woman with a slight New York accent. She had dark, unruly wavy hair cut close in an almost pixie. She wore an oversized hand-knit sweater with slim grey jeans, ballet flats. Her face was narrow and intent. She was warm, and inquisitive.
“Are you married?” said R, the other woman, a tall, elegant,handsome person. She wore jeans that had been pressed to creases. Her fitted t-shirt also looked pressed and was tucked in. She, too, was wearing a hand-knit sweater with classic lines, small buttons, all fitted with lovely details. Her hair was combed into perfect waves and kept that way, no doubt, with a cloud of hair spray. I wondered what she looked like without make-up.
“Do you want a job?” they both said, nearly in unison. I laughed. The two of them eyed me intently, both still leaning forward, their hands still brushing absently over the sweater on the counter in the middle of our little circle.
In fact, I did want a job. “Yes, yes I want a job. Yes, I knit this . . .” I told them the story of finding it at Mannings, the weeks knitting. They listened as they led me back to the left side back recesses of the store where the bins of Dale of Norway were and we stood and discussed color combinations. They took turns asking me personal questions until other ladies entered the shop and their help was needed elsewhere.
They were serious about the job. And I took that job. Thus began my part-time-while-a-graduate-student-job and a crash course in everything knitting that I had never known or paid attention to in the past: swatching, gauge, yarn weight, fiber content, making mistakes, fixing mistakes, altering patterns, writing patterns . . . I learned by making my own mistakes, figuring out how to fix them, and by helping other people fix their mistakes. This was central to my own philosophy of knitting and teaching: mistakes are the treasure trove of knowledge. Don’t be afraid of making them, even though it’s stressful sometimes . . . mistakes are worth their weight in gold nuggets.
I was mostly contented to make sweaters from the pattern books in the shop until one day when the two owners came back from the big knitting trade show (TNNA . . . sadly this pandemic has forced its demise only last year, too). They had seen a felted bag at the show and had both made small ones at night after the show when they were in the hotel room. Now, these little bags sat on the counter by the register. I had never seen anything like them. They were adorable, captivating. I had to make one.
“HOW did you do this?” I asked W. It was furry, a small creature in my hands. I didn’t want to put it down. A bag that was like carrying a small, obedient puppy. W handed me a very simple hand-written pattern photocopied on a half-sheet of white paper. I bought some feltable yarn in a bunch of fun colors and added some hot pink mohair that I had from a sweater I had recently knit and made the little bag below. It is, truly, the first Nonibag. I was absolutely in love with it. I carried it everywhere even though it is so small it can hold nearly nothing except for wallet, car and house keys, pen, maybe a small paperback book. . . I think I did carry a copy of Othello around since I was teaching Shakespeare at the University of Maryland at the time.
I started experimenting immediately. Questions, theories, and mistakes were my teachers. What if I wanted to . . . What if I did this? What would happen if I . . .
I made lots of little bags. I made enormous bags that became yarn baskets. I made bags shaped like tubes. And I used stripes, a lot. I used mohair to create color complexity and a lovely halo that I, to this day, find quite fetching sometimes. You can see this in several of the Vintage Nonibags, such as The Garden Party Bag with its grass-green, textured body.
My purses started attracting a lot of attention. Ladies stopped me on the street. The ladies at the shop asked me to make bags for them, too. The red and red striped medium carpet bag was my first commissions. M wanted a red bag with big red flowers. “Can you do it?” She asked me. “Of course!” I said, feeling just a little queasy because I was not too sure about the flowers part. I started picking different feltable reds from the shelf. I think I pulled about 15 different reds down and used all of them in a bag that came out AMAZING but rather odd. I carried it around for years . . . it has since been retired. Design work often means taking an idea through several iterations. I tried again. The second bag I made was the Medium Carpet Bag. That first flower was The Camellia Flower.
Another customer wanted a smaller sized after she saw M’s bag. That became the Small Carpet Bag.
And then someone wanted a briefcase-sized version of the Carpet Bag with big red flowers. The Rather Huge Carpet Bag was born. She’s amazing. Striking. Classic. Fun. Unapologetic. She still stops traffic.
And for 24 hours . . . starting with tomorrow’s blog post . . . you can download this classic Nonibag pattern for free.
In tomorrow’s blog entry itself, I will include the written instructions for the medium sized carpet bag as well as my tips and techniques for excellent finishing. I will also introduce a new finishing package that includes a beautiful new JUL Leather handle and gorgeous metal hardware–handle brackets, a beautiful snap closure, bag feet, and cabochon rivet details. A stunning hardware update for an unforgettable bag. See you tomorrow on the Noni Blog!
Since I shuttered my storefront in 2015, I have tried a few different things . . . Most recently, I taught English Composition at the local community college. Like many other jobs everywhere on the planet, that gig was upended by Covid-19. I had to figure out what to do with myself again.
As for most of us, 2020 was a challenge for me. I have been lonely and isolated in ways that made me reach out in order to connect and reach into myself in order to find solid ground: where do I want to stand? What do I want to stand up for, publicly? I have always wanted to stay away from politics when it came to business. But isn’t it true to say that just about all of our decisions have socio-political, cultural consequences and a carbon footprint?
The events of the past year are still very present in my mind: my heart aches for the losses we have suffered because of Covid-19, the losses that go on and on. And I am disgusted by the losses that are the consequence of systemic racism in our country and world. We need to transform our thinking. I can only hope the detestable acts of violence we continue to see may finally be bringing about a cultural reckoning. I am hearing stories I have never heard before – maybe you are, too, truths that are hard to bear but that must be heard and borne in order to grow and do better. I have work to do. I believe that the lives of black people matter. All of them. A writer friend of mine, Reginald McKnight, always said, “Take everyone as they come.” It is the best antidote to any -ism I have found. Like most simple, true advice, it is harder than it seems . . . for all of us.
I have been in a state of grief and hope. I have not seen my most loved elders and some friends in over a year. I don’t hug anymore. I have been observing my self. All spring and summer I gardened my small, much-too-shady-for-a-proper-vegetable-garden yard. I’ve taught myself how to make sourdough bread with the help of a who knows how old it is? starter from King Arthur Flour company that I came into possession of by way of my dad who took a class there on making bread several years ago and has dutifully tended to his starter ever since. I also studied the book, Tartine. I learned the Russian Kale I like to eat likes to grow even in the a bit too shady sliver of side garden where it volunteered. I have discovered that if you love our planet and you want to reduce your carbon footprint, one of the most powerful things you can do is eat more plants – see for yourself by taking this quiz. The more you replace meat with plants, the better it is for your health (in general, but every one is different) and our world. Maybe you already know this but it was a surprise to me. So this, coupled with some health issues in our little family, spurred me to start giving myself a crash course in nutrition. Physical pain I thought I might always just endure is mostly gone. I have more flexibility than I have had for years, and more energy. My memory is returning: all that menopausal “brain fog” bullshit . . . am I going crazy? feeling . . . Gone. I’m clear. Awake. I remember.
I have started reading novels again, a delicious past time I have not enjoyed much since graduate school. I am even reading one out loud to my husband in the evenings, a chapter or two at a time. Recently, I also picked up my knitting needles again, the designer’s pen, my writing pen. As most journeys are, this one was an indirect path to this moment, this very one. It all began years ago, when my friend James mentioned that he writes Morning Pages. I didn’t know what they were, save that he wrote them in the morning. I didn’t investigate. But I did remember.
Just over a month ago, I heard the term Morning Pages again. Seth Godin mentioned them in a conversation with Marie Forleo about his latest book. Both are content creators who have helped thousands if not millions figure out how to follow a passion and turn it into a business. I could tell from Marie’s reaction that she knew exactly what they were. . . “She probably writes them, too,” I thought. I was intriqued. “Two such inspiring and successful people write Morning Pages?” I wondered to myself. “Those must be some powerful pages.” And then I thought of James, too. “I want to be in that club,” I thought to myself.
Over Thanksgiving, I started my own. I didn’t know the rules, exactly, as specified by their originator, Julia Cameron, a brilliant woman who has made inspiring works in many fields and is the creative force behind The Artist’s Way, a book – or, more accurately, a self-guided creative program, to help you find your artist self (again) – that has helped many (maybe millions?) find their way to a sense of purpose and intention.
Somehow I did know that I was supposed to write three long-hand pages on 8.5″ x 11″ paper. Analogue writing gets our thoughts and brains to places we can’t reach when we type, because long-hand forces us to slow down. If you can’t write long-hand, however, use the tools you must. While Cameron assures us that long-hand is best, she also acknowledges that writing at all is better than not writing. I am into my second month and have not missed a single day, though I did have to write Afternoon Pages once because I messed up my morning. I am closing in on the last few pages in a notebook that had lain empty for over 16 years just waiting for these pages. I tell you, Morning Pages are hard, annoying, illuminating, tedious, in-my-face, the best therapist I’ve ever had (if I had only known!), damn broken record stop it already confrontational when I’m avoiding something, persistent is an understatement, amazing, amazing AMAZING. Wow.
On the first day after writing the Morning Pages, I was seeing differently. I was inhabiting the landscape in a way that felt fundamentally changed. It had been a long time since I was seeing and thinking like a writer, dare I whisper . . . like an artist.
I look forward to them. I work things out, solve problems, ask big and small questions, try out answers. Write down ideas. Sometimes they feel horrible, difficult, laborious, like pulling teeth out of the hard-baked ground. Some days, I recount what happened yesterday, or what I remember from a day when I was four. I am look forward to where they will take me, what I will discover.
Morning Pages have led me back to Noni: I have turned my attentions to some designs that I teased you with in the past (but did not publish), I am working on some really great new stuff, too, soonish.
My next blog post is a free pattern for a little bag called A Bit of Hope. She is tiny, and lovely, and comforting. Let your knitting friends know to come and visit, subscribe, or look for my latest on my Facebook page or in my Instagram feed. Please share this post with them and other artists you might know who just might need or want Morning Pages.
Set out your necessary materials. You will need 3 pieces of 8.5 x 11 paper and a pen. At minimum. I humbly suggest you make a committment and give it a go for a while. Get a notebook to devote to your pages. I have recently pillaged my son’s old notebooks from elementary school . . . some empty or nearly empty. Those are waiting to be filled with morning pages. Or go all out on a fancy notebook. Whatever works for you. What is most important is that you write.
Set up your coffee/tea and your space the night before. Think ahead of time about where you want to write and what you will need first thing in the morning so you don’t get sidetracked by your daily routine. Must have coffee? Set it up the night before so all you have to do is get it out of the fridge OR all you have to do is hit a button. I load up my french press and the water kettle so all I have to do is wait for the water to boil and pour. My pen, journal, and a clean, well-lit place to write (with a little side table for my coffee) are all waiting for me to curl up and get to work.
Write without stopping until 3 pages are completed. Some people say you should keep the pen moving without censoring what you are writing. The point is to get used to writing whether you want to or not, whether you think what you are writing is bad, terrible, drivel, amazing, brilliant, publishible, or crap. Write. Write anyway. Keep writing. In order to produce a piece of writing, we must all write through sunny days and gloomy ones. The Morning Pages teach us this. And a lot more, too. I must confess that sometimes I look up when the Carolina Wren scrabbles around the window I can see from my table. When she flies off, I remember to turn again to my pages. I do not beat myself up for this.
Do NOT share your Morning Pages with others. The last thing you need is someone saying something about the pages that makes you not want to write them, or write at all. The pages are for you. Protect them.
Repeat steps 1 – 4 every day, first thing in the morning. But if you can’t make the morning work out one day, write as soon as you can. Sometime-of-day pages are better than no pages at all.
Share Your Thoughs about your own journey this past year. What is one way you have coped with the difficulties of 2020? If you start writing Morning Pages, or if you already write them, what is one way they have worked for you? What have you discovered about yourself and your artist self?
Knitted Flowers are the quintessential quick knit. Add knitted flowers to anything old, new, hand-made, ready-to-wear, unapologetically for you, and that made-to-be-special heirloom gift.
While a scarf of simple construction takes days, or much much longer if it is made in fingering weight yarn and has any sort of color-work, short rows, or gradient color changes and patterning so popular now. Brioche can take weeks.
Flowers, on the other hand, require a few hours, or as little as 20 minutes. I was sitting at the kitchen table the other day making Camellias and Bling Flowers (Cherry Blossoms by another name) in different gauge yarns, from fingering to worsted-weight, so as to achieve a variety of sizes, from delicate cherry blossoms to . . . one right after another.
The picture below shows a purse I recently made: a W purse in Hot Pink with 2 beaded Camellias and many Bling Flowers. After beading all those flowers, I decorated the purse in an extravagant way.
Picture a 6-8-10 bag in white and pale green for a spectacular bridal keepsake purse. Or Grace Kelly’s Overnight Bag in black and grey for a gallery opening, or in palest blue with a bright garden of flowers in the colors of sorbet as a Mother’s Day gift.
For smaller, quicker gifts, I make pairs of flowers, sew them onto flower clips and give them as decorations that can be used singly or in pairs to adorn sandals, one’s hair. . . the neckline of a favorite t-shirt. Here is a picture of a purchased ruffly scarf decorated with a single beaded bling flower.
How long does a Bling Flower take to make? you might be wondering.
I timed myself. It took between 15 and 30 minutes to make each worsted-weight Bling Flowers on a size 6 needle. It didn’t take long for me to memorized the pattern. That’s a speedy hand-knitted gift. You could have a lovely hostess gift flower clipped to a bottle of wine or jar of tasty Sundried Tomato bread spread done in less than an hour.
Knitted flowers are a beautiful and economical gift that allow you to demonstrate your devotion to loved one in a heartfelt way. That’s the best kind of gift.
A page is turning in my life and I have decided to close Noni Designs (for the most part-I will still design and add new pdfs to my website) to follow a strong pull toward new and exciting opportunities. I plan to return to school for another advanced degree, spend more time writing, possibly on the knitting project people have asked for for a long time: new bags and flowers all in one book – I am working on the book proposal right now! I have other books in me, too.
I plan to spend more time having adventures with my son, Soma.
My son enjoying the ice cream left on the dasher after making ice cream the old way with my father.
I am excited about these new paths and where they will take me.
Nevertheless, I will miss Noni and all of the wonderful and talented people I have had the pleasure and honor of meeting, teaching, working with: you, your stories, feed-back, projects, enthusiasm and support have made for an unforgettable 10 year chapter in my life.
I do have some great news for all of you: news I’d like you to share with as many knitters and bag-makers and bag-loves as you know: help me get the word ot that I will be selling many of my one-of-a-kind bags. This process may extend beyond the studio close date of January 31st. More on these small releases as we get closer to the first one and those following: it will be soon.
Delicious little bags . . . one could be yours
The other exciting news is that I will be designing a small fare-well collection that will include updates to some of my classics: look for my these exciting designs.
LOOK FOR MANY TASTY PROMOTIONS ON VARIOUS PRODUCTS EVERY WEEK STARTING THIS TUESDAY until the studio closes. Keep up-to-date on my latest activities, discounts, and special promotions via e-mail (make sure you sign up at the bottom left of my home page), Noni Designs Facebook page, blog postings, and Ravelry announcements in the groups associated with Noni. As inventory is sold, except for yarn and some essential products, it will not be replaced: In other words, shop early and often for patterns and kits containing everything you need to make those projects that have been on your mind for a time. Add them to your Noni queue.
Thank you for bringing me and my work into your creative life, and for making Noni such a wild, fun, beautiful, and rewarding journey for me.
It has been a great run. Help me make the last months of Noni just as wild and fun.
When a passion becomes a job it often changes the passion or even empties it out. There have even been studies about this. The landscaper who once had a beautiful garden gets so caught up with other people’s hard-scapes and gardens that his own are neglected. The knitter who began designing for herself with a sense of intrepid adventure lapses into design silence. There are no projects on the needles.
There are, of course, landscapers who constantly invest their creativity in their own garden, and so it becomes an oasis, an inspiration for others. If you reclaim knitting for yourself, perhaps the designs that result will be more sought after than the ones you thought would sell.
Lately I have been contemplating what I want to knit. Perhaps it is because Noni is 10 and I am looking back at where I started, the things I have done, and where I want to go.
But before I launch into ideas for myself (and I will in upcoming posts), I bet there are a lot of you who also don’t always knit to please yourself . . .
I’d love to hear in the comments what you would really like to make for yourself, or just for the pleasure of it . . . and for some reason you haven’t, yet.
I look forward to and enjoy Spring flowers more than I ever did before I wrote my book on knitted flowers, Noni Flowers. It has always been my favorite time of year, but the process of working on knitted flowers for my book taught to me notice things about plants that I had previously been a bit blind to: the structure of a flower, the coloring of its petals, the way it unfurls, the shapes of buds, the procession of leaves, bud, flower. . . there are details I had not previously noticed. I notice the color of stems now, the shapes of sepal leaves, the colors and form of stamens all with an eye not just to enjoy but to knit.
The Forget-me-not flower details we can’t usually see.
When an interviewer asked me, on the heels of the book’s publication in 2012 what inspired me to make these flowers, “lifelike flowers,” my answer to her question is, in many ways, the same answer or, rather, advice that I gave to writing students so many years ago and to my knitting students now: When you seek any inspiration, the basis for a story, a description of place, events in the past or future, a design theme, a color scheme, a fair isle design, the colors to pick for the tulip you might be inclined to knit out of my book, you don’t have to come up with that material whole cloth out of your own brain.
If I resorted only to what resided in my mind already, the flowers I might knit would look little different from those in the drawings of daisy-like or tulip-ish flowers I drew as a child. They were approximations of what I was then capable of drawing, the flowers most familiar to me.
I suggest to all of my students to become better observers of the world, but also to trust their own creative impulses. So often we talk ourselves out of our ideas. The first idea might be so grand we don’t think we can possibly make it real . . . but maybe we can. Maybe you can. When I started working on my book, I didn’t know if I could pull it off. But I said I could and I told Random House I could. And then I did. There were flowers I chose not to try, telling myself they were too hard: orchids, for example. but I am quite certain now that if I set my mind to sit down and work on an orchid until I could hold the finished one in my hand, I could do it. I could make an orchid out of yarn.
It’s not easy to sit down and do what you don’t think you can do. . . but what if you do and you create something amazing. There are examples of this everywhere. Take a look at this inspiring Ted Talk “Embrace The Shake” by artist Phil Hansen. And his inspiring and unconventional work:
His recipe for exploring the limits of your creativity?
Don’t talk yourself out of your creativity.
Expect to fail. Expect the creative process to lead you to a place you might not have thought you’d go.
I have gotten a few questions about how to put felted purses into purse frames (6-8-10, W, Lipstick & Change, Big Flirt . . . and so many others). Here is a step-by-step photo-tutorial that shows how to put a purse into a sew-hole frame that has a slot.
First, Gather together the necessary materials on a clean, well-lit working surface: a clean paper towel to protect your work surface, your slightly damp purse, fabric glue, purse frame, beads, beading thread, a sharp thin-gauge needle, a pair of thread nippers (pictured here) or scissors, and a metal double-pointed needle or tapestry needle (top poke the purse into the frame slot).
Gluing The Purse Into The Frame
Step 1: Apply the Glue to the Frame one side at a time. The first step is to put a line of glue into the slot of the purse frame, particularly on the “solid” side of the frame that does not contain sew holes.
NOTE: Do not put glue in both sides as it is very easy to end up with glue on your purse where you don’t want it. Also important: DO NOT USE TOO MUCH GLUE. In other words, it is not necessary to fill the slot. Just a single slim line of glue on the non-hole side will more than do the trick. More important than getting a lot of glue is that you are using the correct glue. Use fabric glue (Liquid Stitch is a good choice). The bottle you see here is Liquid Fusion. I like it very much. It has a nice consistency, stays put, and works on fabric and other materials for a good hold. Elmer’s Glue is not strong enough. Gorilla glue makes a mess.
Place the frame, front side down, on the paper towel. Then arrange the first flap (right side down on the paper towel) so that it is ready to be poked into the frame.
I like to begin by poking one side of the purse and then the other into the frame side with the tip of a double-pointed needle or tapestry needle. I do this so that I know how much of the purse flap fabric needs to be distributed evenly across the frame. In the above photo, the middle part of the purse flap is positioned to insert into the frame.
In the above picture, I have started to insert the frame has not yet been poked into the frame. As I poke it in, I make sure that the fullness of the flap is distributed across the entire frame. It is easy to move the tip of the needle from left to right or right to left in order to distribute the fabric evenly. Below is a picture of this process once it is complete – NOTE that the folds of the flap are spaced evenly across the frame top. We can still do a little adjustment if necessary at this point and again during the blocking process.
You can check that the purse flap fabric is secure within the frame by turning the frame over so you can see the right side/whole side of the frame. If the purse is “in” the frame, you will see the color of the purse fabric through the sew holes. Dark holes, holes in shadow, mean that the purse flap has not been sufficiently poked into the slot. Simply poke the fabric in yet again.
To ensure that the purse stays put inside the frame as the glue dries, baste the purse in place using a double-strand of sewing or beading thread and a sharp needle. For good results, simply baste around the entire frame. It is not necessary to go through the sew holes at this point as you can see below.
A close up of the basting stitches: you want the stitches to be snug around the frame.
Next, place a line of glue inside the second frame slot, again careful that you put this bead of glue on the non-sew hole side of the slot.
<p value="<amp-fit-text layout="fixed-height" min-font-size="6" max-font-size="72" height="80">I sometimes find that poking the second flap into the frame is more awkward than the first. Mainly because the purse is in the way, you may have difficulty laying the frame down flat. . . so, I try to follow the same procedure: first, poke the sides in, then the top of the flap, distribute the fabric evenly . . . I console myself that the second side is the awkward side and just get the job done any way I can without making a mess. Deep breaths. That's my advice. And do what works. Sometimes you'll be very glad the glue dries clear.I sometimes find that poking the second flap into the frame is more awkward than the first. Mainly because the purse is in the way, you may have difficulty laying the frame down flat. . . so, I try to follow the same procedure: first, poke the sides in, then the top of the flap, distribute the fabric evenly . . . I console myself that the second side is the awkward side and just get the job done any way I can without making a mess. Deep breaths. That’s my advice. And do what works. Sometimes you’ll be very glad the glue dries clear.
Don’t Skip the Gluing Step: Here’s Why
I did see a posting somewhere that a Lipstick and Change maker had skipped the gluing step . . . I do not think this is wise. She seemed to think it would save her time or that she was giving in to laziness. The gluing step is possibly the quickest of the finishing steps. AND it is essential for keeping the purse in the frame should the “sewing in” part of the purse construction be compromised in some way.
I would not want to be be walking down the street and have a corner of my purse come undone with no glue to keep it in place.
The purse will be held in the frame by the glue alone if you have done this step properly. You will see that gluing and basting may take as little as 15 minutes. It’s the sewing that will take more of your time.
Sew The Purse Into The Frame While The Glue Dries
You may be tempted to glue one day and sew the next. I do not recommend this. It is both necessary and easier to sew the purse into the frame using the little beads while the glue dries. As the glue hardens, it becomes much harder to push a needle through it. So, what would normally take an hour can take considerably longer or prove impossible altogether.
Begin Sewing at The Hinge On One Side
The First step is to begin at the hinge of one side. With your double strand of nylon beading thread already on the needle and a knot at the end, put your needle into the purse frabric and then into a hole from inside to outside. You will have to angle your needle somewhat to get it through the hole. Getting the right angle sometimes is awkward and annoying. Sometimes, one might be inclined to think she is doing something wrong . . . this step requires a bit of muscle memory, so have patience as you internalize the needle angle.
Once you have come through the hole on the front, put a bead on the needle and then go back through the same hole out of which the needle just came.
Repeat this process around the entire frame. You may also want to catch a bead on the inside of the purse in the same manner as you have done on the outside. It makes for a pretty finish on the inside. If you do not want to do this, you should nevertheless put the point of your needle almost in the same place on the inside of the purse, angling your needle toward the next sew hole so that your stitches are more or less invisible on the inside of the purse.
I sometimes prefer to have beads on the inside as well as the outside, because it is prettier.
Finish off your strand of thread by making a dress-maker’s knot and then traveling inside the felt (see images below) so that you can cut the thread off at the purse with no unsightly ends sticking out.
Once both sides are sewn in place, you can cut the basting thread, pull out the stitches, removing all the basting thread. The purse is now secure in the frame.