vogue knitting

WIP: Hermosita Tee

Soon after my Hermosa Tee came out, I had lunch with my brother and sister-in-law.


I wore my prototype of the t-shirt and brought along my copy of Vogue Knitting’s Spring 2016 issue in which Louet had placed an ad for the pattern collection that included my design.

It’s just an ad, but probably the only time my name will appear as a designer in Vogue Knitting.

My SIL really liked* my new design, and my brother asked me to knit one for her.

In my stash is every color of yarn in the known universe (even lime green)—except, of course, the particular shade of purple she wanted, so I had to order some.

I knew that Knit Picks had lots of shades of purple in the fiber I wanted to use (cotton blend) and yarn weight I needed (sport), so I sent them three to choose from.

Three strikes.

What other purples are there, they wanted to know.

Nope, nope, and nope.

Not quite what they had in mind, they said. Anything else?


“One more,” I wrote, “but it’s 100% acrylic. It will be soft, but not as soft as the other two that are cotton blends.”

Knit Picks Brava Sport in freesia.

Soft shmoft, acrylic shmacrylic. That’s the color she wanted.

When the yarn arrived, I was in the midst of swatching for a new design, and I ended up knitting an entirely different this-exact-color-purple t-shirt for my SIL.

But the skeins of Brava Sport are so generous and my SIL is so tiny that I had enough yarn left over to knit her a this-exact-color-purple Hermosa Tee.

The back.

Well, almost enough yarn.


*By “really liked” I mean that she saw it and said, “That’s nice.” She’s not one to gush.

To Ponder: Character is woven quietly from the threads of hundreds of correct decisions. When strengthened by obedience and worthy acts, correct decisions form a fabric of character that brings victory in time of great need. |-Richard G. Scott-|


Designer Crush: Irina Poludnenko

One of my most favoritist designers is Irina Poludnenko. She’s been around the knitwear design world for about 20 years, before the interwebs and Ravelry, so I caught her in Vogue Knitting.

A few years ago I knit* her #07 Slant Rib Pullover from Fall 2002 (which I believe is one of the best issues they’ve ever published).

Rina—which is what I would call her if we toasted each other at the VK Christmas party in NYC—is now an in-house designer for the yarn company Tahki Stacy Charles, and while her designs for them are rather fabulous, she’s been swinging for the bleachers since the beginning.

My love for her is infinite, but I’ve chosen a few stand-outs from her extraordinary body of work.

Diagonal Slit Pullover

She took a mid-century funnel neck pullover and went Jetsons with the ridges and rips. (And is that Joan Severance?)

Cabled Pullover

All. Those. Cables.

Two-Button Jacket

An homage to Pop Art that uses a mosaic(!) technique to create a fitted(!), shawl collar(!) cardigan.

Allover Cabled Cardigan

A deep, deep, deep v-neck cabled pullover with a ribbed hem to hold it all together. (+1 for the magazine’s styling of this design. The belt closes the deal.)

Alyce Cardigan

The upside-down horseshoe cables on the peplum and bell sleeves that flow into waist shaping with XO cables that flow into ribbing that flow into plaited cables on the yoke and fitted sleeves. And the horseshoe placket that easily accommodates the buttons.

Natalie Tank

Unusual construction of a standard tank top that looks like a weatherman’s map of a cold front moving SE from the PNW.

Sundance Cardigan

A Nehru silhouette knit side-to-side with a zipper and semi-circle waist detail that forms a full circle when you sew everything together. It would be a great design without the circles, but that little detail… See? That’s why Rina rocks. And the colors.

Parma Ridge Poncho

A poncho that uses two yarn weights to create texture. And sleeves! My absolute favorite design by her that I’ve never knit for the simple reason that I haven’t ponied up $6 for the pattern.

Ethel Mesh Stripe Pullover

I’ve been working on a similar design that has been submitted and rejected several times because I’m not Irina Poludnenko. Or more probably because—aha—I continued the lace pattern too far into the yoke. Also, mine has a better name than Ethel. (-1 for the magazine styling. Really? A collared shirt?)

Rosslyn Cowl

If you can get past the Shrek colored yarn and obvious lack of blocking, this is a brilliant execution of multiple complex knitting and shaping techniques.

Geghard Cabled Pullover

Cables that look like cousins, and without a heavy reliance on filler stitches.

Victoria Top

First, the colors. And b) elongated entrelac in garter stitch.

A lot of Rina’s designs don’t have many projects on Ravelry, and I think it’s because she’s on an elevated plane. She’s one of those people whose designs you knit because they’re interesting or they’re going to develop your skills, and with the price of yarn these days knitters tend to knit wardrobe staples.

She mostly lets her designs speak for her, but if you’re interested in more about her or are curious about what she looks like when she travels to Europe with her family, you can read a rather serious interview she did in 2012 with another knitter named Robin.

*I didn’t put this project on Ravelry because the armscyes were too tight. My knitting hubris, however, prevented me from trying on the sweater before I blocked the whole thing, and when I finally admitted defeat and tried to unpiece it, I had done such a good job of weaving in my ends** that I couldn’t find the place to start unravelling***.

**Knitting hubris indeed.

***I can’t go Gordian on this because I’m out of yarn and need to tink to save every centimeter of yarn.

To Ponder: Your circumstances aren’t holding you back, your decisions are. |-John Assaraf-|

Submission: Christmas Ornaments to Creative Knitting, and a Kerfuffle

A couple o’ weeks ago, I submitted a proposal to Creative Knitting magazine for their 60+ Christmas Knit Ornaments issue that’s scheduled for publication in August 2015.

That’s not a magazine I normally buy, mostly because I’m never excited enough about a design to give an issue shelf space in my collection.

Although if that were a strict rule, I would cancel my subscription to Vogue Knitting.

These sweaters are so sedate, VK had to shoot them on city streets just to give them life.

But as I’ve said before, I don’t have to love a magazine to design for it. And this special issue sounded interesting (in spite of all the exclamation points in their call for submissions).

There was, however, a kerfuffle in the Ravelry Designers forum about this call because Creative Knitting buys all rights, meaning they own the pattern forever and you won’t get the rights back after a year or two so you can sell it yourself, which is fairly standard in the industry. Some designers also thought that the pay range of $35–$75 per ornament (depending on complexity) was rather low, especially in light of the unfair rights situation.

Oh brother.

First*, even if you did get the rights back, there are so many free and adorable ornament patterns out there, you would have to be the Yarn Harlot or Jared Flood to get any money for yours.

See? Cute and free.

And unless you’re the Yarn Harlot or Jared Flood, you probably wouldn’t be able to charge more than $1.00 for the pattern. And unless you’re the Yarn Harlot or Jared Flood^, you would be lucky to find 35 people to buy it.

So after you deduct all the fees to Ravelry and PayPal, you won’t even have enough money to buy yourself a small bottle of Crown Royal.

Only on the rocks.

One designer commented on the low compensation, and the editor who had posted the call said it’s because ‘on small items, there is less time spent on creating/designing/pattern writing compared to designing a garment, and only one size is required which means grading the pattern (i.e., doing brain-frying maths for all the sizes) isn’t necessary.’

Well, yes and no. It’s true that grading a pattern requires a lot more time and effort, which takes a lot of time and is therefore worth a lot more money, but writing a pattern for a small item is the same amount of trouble whether it’s a hat, a shawl, or a Christmas ornament—especially if the item has shaping or uses multiple colors or needs to be charted, which are all pretty much givens for an ornament—and Creative Knitting probably pays a lot more money for a hat.

Another complaint was about their contract procedures, but this post is getting too long (and possibly boring for my non-knitting readers), so I won’t go into it except to say that it does kind of suck, but Creative Knitting has been publishing 4–5 magazines a year since 2007, so everyone should stop acting like you have to promise your first-born to them.

So, after two weeks of ignoring daily reminders fired at me by my online calendar, I ignored the good opinions of other knitters, and through the magic of editing, turned some rejected lavender sachets into colorful Christmas ornaments and submitted them in the nick of time.

The way I see it, Creative Knitting needs 60+ patterns for this issue, so I have a decent chance of being accepted, made even better by the fact that at least three designers have no intention of submitting their ideas to these lowballing, rights-hoarding, secretive dirtbags who are going to send them free yarn and a check for the full amount; professionally photograph their ornament; and then publish it in an international magazine.

Pretty much the only thing no one complained about is that they don’t let you know if you’ve been rejected. The way it works is that if you don’t hear from them after 45 days, you just assume they don’t want your pattern.

That sucks.

Plus, I like that they’re calling it a Christmas issue rather than a Holiday issue.

*There is no second.

^And if you’re the Yarn Harlot or Jared Flood, you probably didn’t even read this call for submissions (or this blog post).

Knitty’s pay range is $75–$100 per item and your pattern is available to everyone in the world—including those Russian websites that have no respect for intellectual property—for free until the end of time. And I bet most of those complainers have responded to every single one of their calls for submission with nary a whimper about rights or compensation.

To Ponder: If you limit your choices only to what seems possible or reasonable, you disconnect yourself from what you truly want, and all that is left is compromise. |-Anais Nin-|

Go Team!

A recent blog post on Knitting Daily featured my Paros Hat!

The Assistant Project Editor for Interweave Knits and Knitscene found a way to get around the universal manly colors of black, brown, blue, and gray, and made one for her fiancé in his favorite pro football team colors. Then she wrote a blog post about it.

With a fun photo and everything. {via}

What a clever idea to knit this hat in team colors. You could use school colors, too. In Texas, that means either burnt orange and white if you hook ’em or maroon and white if you gig ’em.

This is the second time one of my hats has been featured on Knitting Daily, which is rather incredible to me, considering I’ve had only two hats published by an Interweave Press magazine.

Mostly, though, this is validation. As a designer, you know what you like, but you’re never sure if others will like it. Magazine editors accept and publish things they like or think their readers will like, but it’s possible no one will knit them.

For example:

Seriously, Vogue Knitting Holiday 2014? This wasn’t even an attractive style in the 80s. [Photo (c)SoHo Publishing]

Today, the project page for my Paros Hat on Ravelry shows eight projects, and three of them are mine. But Laura’s fiancé’s hat isn’t on there, so there are at least seven people (I’m counting the editor who published it) besides me who like it.

I’m so thankful for that.

To Ponder: Your attitude is like a box of crayons that color your world. Constantly color your picture gray, and your picture will always be bleak. Try adding some bright colors to the picture by including humor, and your picture begins to lighten up. |Allen Klein|

A Gift of Yarn and Magazines Part 1: The Magazines

A couple of weeks ago, during my Saturday afternoon volunteer shift at the library, I was able to get in one or two rows of knitting. I can usually knit quite a bit on those shifts because we’re not busy and because I work with a partner who loves to shelve books. But summers in Texas are indistinguishable from the molten core of a volcano and the library is air conditioned, which means more patrons and more checkouts. I can’t remember when I had time to even take my knitting project out of my bag.

But that day, I was knitting when a woman came to the circulation desk to check out books. She said, “Oh, I used to knit, but I don’t any more. And no one in my family knits.”

Bummer, I thought, as I scanned the barcodes on her books.

“I have a bunch of yarn,” she said. “Do you want it?”

My first thought, was OF COURSE I WANT FREE YARN. But then I asked the critical question as non-snobbily as I could: “Is it wool?”

She said it was, and that some of it was cashmere from Italy that she bought without having any plans for. “You know how you go to a yarn store and just pick stuff off the shelves.”

I nodded, thinking, I don’t pick cashmere off the shelves.

I wrote my name on her book receipt and she said she would drop the yarn at the library for me.

Around 10:00 AM on Monday, I got a call from one of the morning shift volunteers.

I was there in 15 minutes.*

When I walked in, Jackie, who had called, smiled at me from behind the circulation desk. Take. me. to. the. yarn. NOW, I started to say, but remembered my manners and first thanked her for letting me know it was there. She held up a stitch dictionary she had been browsing through and assured me that she was just looking at it. “I like to cro—”

“There are books, too?” I asked.

“—chet,” she finished, then nodded.

Manners shmanners. “Where?”

Jackie led me to a two-shelf book cart in the back room near the kitchen. On the top shelf were four dusty file-size clear tubs stuffed with crack yarn.

Treasure chests.

Jackie watched as I opened each tub full of vintage yarn—Unger, Bernat, Del Avo, Indiecita, Lane Borgosesia, Katia, Brunswick—careful not to let any of the skeins leave my sight. I felt like a prisoner guarding my breakfast in the mess hall, ready to defend my haul against Jackie or some other crafting bully who wandered by and thought the yarn was just another donation, there for the taking.

On the second shelf of the book cart was what looked like a foot-tall stack of books and magazines, also vintage, and mostly from the 80s.

In reality, only about 7″ high.

What a collection!

Stitch dictionaries.


Pingouin and Phildar magazines.

Vogue Knitting magazines.

As with some books that came into my possession, these Vogue Knitting covers were so familiar to me, I thought I already owned most of them.† I didn’t, though, and they’ve filled in a lot of gaps in my collection.

Unfortunately, my knitting donor is a smoker. As soon as I can get the smell out of the yarn, I’ll do a post on what’s in the tubs.

Coffee grounds seem to be working to absorb the smell.

*There are other knitters at the library, including the director, whom I’m almost positive would not have exerted eminent domain over my yarn, but I wanted to get it out of their way as soon as I could.

†I did own them at one time, but they had been donated to Goodwill by a dumb college girl who had no idea what she wanted to do with her life, but was sure she would never knit again.

220 x X* = Insanity

*Where X is the number of times I’ve counted to 220.

I started a new knitting project—Lucie Sinkler’s #23 Sleeveless Top from Vogue Knitting’s Spring/Summer 2003 issue. I like the shape of this top (which is not sleeveless, but rather has cap sleeves) and the fact that it’s seamless. I don’t like the air vents at the sides, so I’ll be leaving them out. (If you had seen the chart for those things, you’d do the same.)

I’m using Knit Picks’ slippery Shine Sport in Currant and slippery Addi Turbo needles. (Don’t ask if I swatched because I didn’t.)

Only one thing is better than yarn the color of Pinot Noir.

I cast on 220 stitches using my favorite Chinese Waitress cast-on (which took 45 minutes), joined for knitting in the round checking several times that I didn’t twist the line of stitches, and began knitting. It starts with three garter ridges, which means three rounds of purling 220 stitches.

I finally got to the stockinette rounds and added a little cable detail that’s supposed to continue up and along the raglan decreases.

After about six hours and 12 rounds, I had this:

3,960 stitches, 660 of them purled.

After I realized that I had twisted the line of stitches and would have to start over, I had this:

And then I had this**:

Zero stitches.

And then I had this:

The only thing better than yarn the color of Pinot Noir.

And then I had this:

My knitting hubris will prevent me from doing this next time.

You’ll notice that my cast on has little binder clips on it. This tip to clip your stitches in place so the slippery yarn on the slippery needles doesn’t deceive you into believing that they’re lined up properly is from the surprisingly helpful book Knitting Tips & Trade Secrets.

I again cast on 220 stitches and again joined for knitting in the round, absolutely certain that I had not twisted the line of stitches. I worked one round, counting each stitch as I knit it, and came up with 210.

Can someone please subscribe me to a wine-o-the-month club?

**To rub a little salt in my wound, when I tried to frog the yarn onto the ball winder, it kept knotting itself because of the twist, so I had to hand-wind it.

Pretend Interview with Pam MacKenzie | Part 1

Pam MacKenzie, who blogs and writes a column about knitting that gets posted on MyCentralJersey.com, interviewed one of my favorite knitwear designers, Angela Hahn.

I first became aware of Angela when I saw her #30 Aran Wrap Cardigan in Vogue Knitting Fall 2008 that combines two of my favorite things—tons of cables and minimal shaping and finishing.

As usual, VK’s styling is about as helpful as their pattern names.

Who wears a slinky floral slip dress and chunky jeweled necklaces with a heavily cabled casual cardigan unless you’re running out to check your mail and forget that a) it’s 45 degrees outside and b) you’re not Madonna?

It wasn’t until Angela blogged about her design, modeling it herself with khakis and a chunky belt and showing it from every angle, that knitters began to knit it.

I’m one of those knitters.

So anyway, back to the interview. If you squint at Pam’s questions and edit them slightly, they can be applied to me and my designs, and since Pam hasn’t asked to interview me yet*, why not pretend that she did?

Q. I first became aware of your designs when someone recommended the Aran wrap you designed for the 2008 Fall issue of Vogue Knitting. She said it was a design that would work for women of all ages. I would add that it would work for women of most body types. I bought alpaca yarn for it and plan to make it one of these days. When did you actually start design knitwear? And what inspired you to do it?

A. I’ve been a serious knitter since high school, but back then, I knit patterns to the letter. As my skills and confidence grew, I started designing my own things. I still have one of my first designs that I made up as I went along—a navy blue vest with vertical pink stripes knit up in Sugar ‘n’ Cream cotton.

My first officially official design is one I self-published in 2009, my River Road Fingerless Mitts.

Holding my favorite book.

Q. You have two pages {half a page} of designs on Ravelry. They range from hats and cowls to sweaters, from shawls to mittens and even a tote bag {hot water bottle cozy}.  And you use all the techniques, from lace to cables to stranded knitting. Your designs are symmetrical and asymmetrical. As the designer, do you see unifying principles or qualities in your work? I see you reinterpreting classics in original ways.

A. I love designing things that are simpler than they look. My aforementioned River Road Fingerless Mitts are a good example. They look cabled, but there are no cable crossings—only knits, purls, increases, and decreases. All four of those happen every other round, but if you can do those things, you can turn out a very nice pair of mitts.

Every design starts with the idea to do something a little different, so I focus on the details. I’m also a perfectionist and will spend hours figuring out a way to make sweater ribbing flow into a cabled design or I’ll knit several versions of the same thing, trying this thing or that.  And I’m always thinking about the knitter, looking for ways to make the knitting of a thing easier.

Q. Where do you get design ideas/inspiration? Do you start with stitch dictionaries or with everyday objects or yarn when you design?

A. Ha. Writers get asked this question a lot, and the answer is: everywhere. But it’s not the idea, it’s the execution.

I can’t get enough of stitch dictionaries. They’re often my bedtime reading. I love paging through them, waiting for something to knock on the door of my design eye. I can pass over the same stitch pattern five hundred times, and one day I see it for the first time.

From writing novels, I’ve learned that the making comes in the doing. I can think about a design, but I must have the needles and yarn in my hand to create anything. A hat I designed for Knitscene came into existence when I started swatching with two different yarns. My head didn’t know what I was doing, but my hands did. After I cast on, it took all of 10 minutes for the design to start taking shape on the needles. (That doesn’t happen often enough.)

I also like to zoom in on elements from other designs and reinterpret them. Or take something minor and make it the main element.

Q. You have two designs in the spring issue of {an upcoming design in the Holiday 2014 issue of Interweave Knits and another in the Fall 2014 issue of Knitscene}, the Plumage Wrap and the Zephirine Cardigan. Although they are very different, they both appear to me to have a sort of rounded yoke around the shoulders {hat-like quality to them}. One is a lacy sweater, the other is a cabled wrap {twisted-stitch hat and the other hat has a colorful swirl}. Did you design them at about the same time? Did designing one of these projects give you ideas about designing the other one?

A. Nope and nope. But, like a lot of designers, I try to get the most out of a single design. I used the cable from my Very Blackberry Pullover on my Irene Adler Pillow. I used the star pattern from my Harts and Stars Cozy on my Starlight Cowl. And of course, there’s my developing Ironheart series that uses the same stranded colorwork heart design on a sweater and a hat.

Okay, that’s the first part of my pretend interview with Pam MacKenzie. The second part of her interview with Angela Hahn will be posted next week, and so will mine.

*Whenever one of my yoga students says “I can’t do it,” I reply, “You can’t do it yet.” Then they keep showing up for class and doing the work and pretty soon, I’m not hearing “I can’t” anymore. The making comes in the doing.

Design WIP: Cabled Sweater > Inspiration

I’m starting a new design—an Aran-/Celtic-/fisherman-type sweater. It’s something that’s been on my knitting mind for a few years, ever since I read somewhere that designing one of these sweaters is part of The Knitting Guild Association‘s Master Knitter program. (I don’t know if that’s true because I’m not in the program, and TKGA doesn’t post the requirements on their website, but it doesn’t matter for these purposes.)

I’ve designed several heavily cabled items, but not something this complex because it’s a big, serious project that’s going to take a lot of time, and over the fall and winter, I had been trying to publish as many patterns as I could, which means small, quick items like hats and scarves. I’ve also been responding to several calls for submissions, designing small stuff for those.

But now I’m ready for total immersion in an intricate project that’s going to require every single one of my little gray cells, and probably all 11 seasons of Poirot. Twice.

Several things have inspired me.

Hop into the wayback machine, and we’ll see Alice Starmore’s book Aran Knitting, specifically her design, St. Brigid.


I haven’t knit this because I can’t afford the yarn.

We’ll also see Kim Hargreaves’ Demi from Vintage Knits.

Cables *and* twisted stitches.

Then last year, I knit Melissa Leapman’s #14 Cabled Turtleneck (Vogue Knitting Winter 2012/13).

Mine is on the left.

Then Kathy Zimmerman’s Bread Basket Pullover came out in Interweave Knits Winter 2014 in one of my favorite colors.

(c) Interweave Press

Hot pink cables.

I’ve also been working on my Stormy Cables sweater that has me making eleventy hundred cable crossings every four rounds. (Which you would think would put me off knitting any more cables, but it has done just the opposite.)

Earning my PhD in cabling without a cable needle.

And I’ve been seeing and pinning a lot of these types of sweaters on Pinterest.

Infinite cable combinations make these sweaters as unique as snowflakes.

Let the swatching begin.

Back Cover Intrigue

Except for a few lapses here and there, I’ve been a subscriber of both Vogue Knitting and Interweave Knits for many years. And in all that time, Classic Elite Yarns has sponsored the back cover of both magazines.

Subscriptions don’t pay a publication’s light bill; advertising does, and both the inside front cover and the back cover are the biggest, most prominent, and most expensive spaces you can buy. Ergo, Classic Elite spends a significant portion of their advertising budget to have their marginally interesting patterns featured back there.

I have a few magazines, and this sponsorship goes back years and years. From my own library, I see that they’re on the back covers of Interweave Knits’ Spring 2001 issue and Vogue Knitting’s Fall/Winter 1988. Probably even further back. They’re also on the back cover of the few issues I have of Knitscene, Knit Simple, and Knit.Wear.

So that means that Classic Elite has been sponsoring the back cover of VK for at least 26 years. They’ve changed the typeface they use, their style and styling, the placement of their name in the ad—center, sideways, top, bottom—and their models. But that four-color ad has always belonged to Classic Elite Yarns.

Until now.

The back cover of Vogue Knitting’s Spring/Summer 2014 issue

I always hold my cowl up with my hand, don’t you?

is sponsored by

Good thing she’s wearing tights.

We’ll be in suspense for a few months as we wait for the next issue of VK. Was Rowan’s sponsorship is a one-time thing, or has Classic Elite been toppled for good? If so, then the question is, what happened?

Organizing 134 Knitting Magazines

A couple of years out of college and into my “career” in the 90s, I had lost interest in knitting, so (it still makes me queasy to think about this), I gave away all of the needles, magazines, and yarn I had accumulated since the early 80s.

And it wasn’t even to a knitting friend. I didn’t have any at the time. I threw everything into bags and dumped them at a thrift store. Yes, years’ worth of now-vintage Vogue Knitting.

When I picked up knitting again—on a trip to Monterrey, Mexico of all things—I had to rebuild my stash and library. And since I had money and an eBay account, it happened pretty quickly. According to my Ravelry library, I have 134 magazines, which seems like a low count compared to what I can see on my shelves.

Eventually there came a time that I needed to organize them, which was on January 6th, apparently, because that’s when Amazon says I bought eight of these magazine files—with two-day shipping because I was motivated. But the files have been sitting on the floor of my studio since January 8th because I’m not sure how to go about organizing them.

By publication, in issue order is the obvious answer, but that’s not how I like to use my magazines. Sometimes I’ll grab a bunch of fall and winter issues and look through the designs, or I’ll want to compare Vogue Knitting‘s spring designs with the spring designs of Interweave Knits. (I don’t know why; I just do.)

So, do I break them up into seasons? Or split them into two types: warm weather, which includes the spring and summer issues, and cold weather, which includes fall, winter, and holiday. How do I handle all the different publications I have? I own one or two copies of other magazines, like Knitscene, Knit Simple, Rowan, etc. Do they get their own magazine file or do I mix them in with the big ones? And what about all those kitschy vintage leaflets?

I also have to consider that I’ll have to put them back where they came from after I use them, so I need a system that allows me to do that easily or I won’t do it and I’ll be back to the same mess I have now.

I looked online to see what other people had done, but it appears that no one but me has this problem. I had a glimmer of hope when I found this post about organizing magazines by month, but these are for home arts magazines that offer seasonal ideas, so in that case, it would be helpful to have every July magazine filed together when it’s time to plan a picinic for the 4th.

After much thinking and mulling, considering and rejecting, and a glass or two of merlot, here’s how I finally decided to file them: by publication, in issue order. Yep, the obvious answer. It’s really the best way, because of how I use them most of the time. I’ll do a pattern search on Ravelry, looking for, say, pullovers with cables in worsted weight yarn, and choose the option to show me patterns in my library. So, chronological order is what’s going to work best when I go hunting for the magazine.

After purging almost every vintage leaflet and several of the magazines that I know I’ll never use, the onsie-twosies are lumped together in one magazine file. Rowan gets its own section because its size demands it. And Vogue Knitting and Interweave Knits each have their own shelf.

On the bottom shelf, notice that Vogue Knitting changed from colored spines to white around the year 2007.

My Ravelry library is now accurate, reflecting 150 magazines. (I hadn’t added absolutely everything to the database, apparently.)

How do you organize your magazines?