Interview with crochet designer, Julie Yeager

Today, I’m happy to share an interview with crochet designer, Julie Yeager. Though we’ve never met in real life, Julie and I share a love of crocheting squares and blankets, and of participating in crochet related swaps. (And, I learned from the interview that we also both grew up shopping for yarn at Woolworth’s in New York City!)

Julie can be found online on Ravelry (as JulieAnny, on her designer page, in the Julie Yeager Designs group), Facebook, and Etsy. Julie also founded and co-moderates the Vanna’s Choice Fan Club group on Ravelry, where you can exchange squares and share pictures of your Vanna’s Choice creations. All photos are copyright Julie Yeager and are used with permission.

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Julie Yeager

Julie Yeager.

Underground Crafter (UC): How did you first learn to crochet?

Julie: I’m honored to talk to the readers of Underground Crafter, Marie.  Thanks for having me. (UC comment: Thanks so much, Julie! It’s great to have you stop by.) I’ve been knitting and crocheting since I was about 8; learned from my Irish mom. I would buy sparkly crochet thread at Woolworth’s in the Bronx, NY and crochet clothes for my Barbies. I also made my share of granny square tote bags. I didn’t do much crafting in my 20s, maybe an occasional baby blanket, but then when I became a stay at home mom I got back into knitting and machine knitting for my daughter. When I discovered Ravelry I got into crocheting afghan squares and blankets and I haven’t stopped.

Stained Glass Afghan Square

Stained Glass Afghan Square, available as a 12″ block pattern.

UC: What inspired you to start designing? 

Julie: I’ve always changed patterns to my taste and would put together the yoke from one sweater with the sleeves from another so I guess I’ve been “designing” a little for years.
I joined some afghan square swap groups on Ravelry and perfected my technique using the patterns of many great designers. Interweave Crochet magazine and the Crochet Me website sponsored a contest in which readers could submit afghan square patterns and the winners would become part of a published pattern called the Chain Reaction Afghan Project. I just picked up my hook and started playing around and submitted a few designs. Three of my designs were chosen and appeared in Interweave Crochet in 2010 – 2011. It was very exciting and the start of my designing career. With Ravelry, I had a great tool to share my work.

Hexaghan

The Hexaghan, including 6 different hexagon designs joined together into one 61 hexagon blanket.

UC: You primarily design crocheted squares. What is it about square motifs that you enjoy designing? 

Julie: I love designing 12-inch squares in aran weight yarn and I have an obsession with Vanna’s Choice. I like the modern look of large scale stitching and I feel like a sculptor with my hook in hand. Fitting my idea into a 12-inch square and getting it to square is very satisfying. My squares are small enough to design and crochet quickly, and I enjoy writing a clear pattern that is easy to follow. I also like an unfussy and repetitive design; as a pattern-user I do not like to have to constantly refer to the instructions and I want my customers to enjoy themselves. Also, there are no fitting problems with blankets.

Catalina Afghan Square

Catalina Afghan Square, a free pattern available in both 9″ and 12″ sizes.

UC: Most of your patterns are self-published. What do you see as the advantages and challenges of self-publishing? 

Julie: With Ravelry and Paypal and a head full of ideas, it is easy and stress-free to work this business around my life. I have a full-time job as a Registered Nurse and am raising a 16-year-old, so I can write and publish patterns around my schedule. Although I would love to have my patterns in magazines and books, for now I find this a great outlet for my creativity and am very happy with how it’s going. It is not for everyone; you have to be a jack-of-all-trades and competent with designing, writing, proof-reading, and know your way around the internet. No editors or publicists on my staff, haha.

Tangled Web Afghan Block

Tangled Web Afghan Block, a 12″ square design.

UC: You’ve hosted several Mystery Crochet-a-Longs. What do you enjoy about using this format to release your patterns? Do you have any tips for designers who want to dip their toes into the MCAL waters? 

Julie: Mystery Crochet-a-Longs are a fun way to draw interest to my patterns. I am lucky to have a base of fans who trust me and are willing to blindly follow where I go! I can only do it about once a year because designing, crocheting, and writing and proofreading a pattern for a whole blanket is very time-consuming! I need a compelling idea to keep my interest through the work! My fans seem to enjoy it and it keeps them interested in my new work. It also brings new fans. I’ve kept the Mystery’ghan free for participants and then later I put the pattern up for sale. The finished projects become a marketing tool. I’m always a little nervous hoping that people will like it after they’ve invested their time and money into a “Mystery.” My only advice is that you have your pattern fully tested before you start.

Garden State Afghan

Garden State Afghan, which Julie originally offered in June, 2013 as a MCAL design, includes eight 4″ squares, four 8″ squares, and two 12″ square patterns.

UC: What are your favorite crochet books in your collection?

Julie: When I first started swapping afghan squares, Jan Eaton’s 200 Crochet Blocks for Blankets, Throws, and Afghans was my favorite. I also worked my way through a few other square reference books, like 101 Crochet Squares by Jean Leinhauser. I love Edie Eckman’s Around the Corner Crochet Borders for finishing after I have a pile of squares to join! I sometimes use The Crochet Stitch Bible by Betty Barnden for stitch inspiration. I try to invent my own stitches these days!

Sun Catcher Afghan Square

 

Sun Catcher Afghan Square, a 12″ block.

UC: Are there any crafty websites you visit regularly for inspiration or community?

Julie: I am a Ravelry addict and check in there several times a day. I like to check the Hot Right Now pattern list and I also check in with my group to see if anyone has any questions or if anyone has posted an awesome photo. 🙂

In Treble Afghan Square

In Treble Afghan Square, a 12″ block.

UC: What projects do you have coming up this year?

Julie: I am currently working on the pattern for my next Mystery-Ghan and hope to have that ready for a June 2014 start. Stay tuned to my Ravelry board for information on that. Clues will be given out over a six-week period and you will have a complete afghan finished!

Thanks again for stopping by, Julie, and I wish you and your fans the best for a fun summer Mystery-Ghan!

Interview with Aoibhe Ni Shuilleabhain

I’m delighted to share an interview with Aoibhe Ni today.  She’s a crochet designer from Ireland who has done some lovely Tunisian crochet designs.  You can find Aoibhe Ni online on her website,  her blog,Twitter, YouTube, and Ravelry (as flick, in her fan group, and on her designer page).  Photographs are by Half a Dream Away and are used with Aoibhe’s Ni’s permission.

 This post contains affiliate links.

Aoibhe Ni’s Beyond the Sea Hat

Underground Crafter (UC): How did you first get started crocheting and Tunisian crocheting?
Aoibhe Ni: I started crocheting when I was 12 or so. My Mam taught me how to make granny-square blankets out of scraps. It took a few years for me to really get into it, but when I did, I started to look for as much information as I could on the craft. At the time, we had no internet at all, so I had to resort to the library in Dublin city centre, and the small selection of Irish Crochet Lace books they had.

Needless to say, it was a huge leap from knowing how to treble crochet, to getting the hang of pattern reading, making lace doilies, and free-form Irish Crochet lace, but along the way I had a lot of fun.

Aoibhe Ni’s Strips of Bacon

UC: What inspired you to start designing?
Aoibhe Ni: I always designed, mostly due to a lack of pattern resources out in the “wilds” of Co. Meath farming land. Most of what I produced early on was useless for the purposes intended. I designed a bag, once, using treble crochets, and decided I didn’t need to line it. Half-way into town, I discovered I had lost half the bag’s contents. A cheap lesson well-learnt, I will tell you!  (UC comment: I think we’ve all had similar “a ha” moments with our early designs!)

Aoibhe Ni’s Guinevere

UC: Much of your design work uses Tunisian crochet. What appeals to you about this technique?
Aoibhe Ni: Both the versatility and the restrictions appeal, actually.

I find, in many ways, traditional crochet is too open for me to gather much inspiration. I find that a few, well-placed restrictions make all the difference with a design. They help focus my thoughts, help me invent new ways around any hurdles I encounter, turning them into advantages along the way. I’d much rather paint a picture with three colours than with a whole palette, and that’s what Tunisian gives me, with its straight lines, and fairly uniform stitch-height.

Within that, I get to play and invent and experiment. What you see in the finished pieces is only a fraction of the things I have tried out along the way.

Aoibhe Ni’s Anansi

UC: Your work is primarily self-published. Can you talk about your decision to focus on self-publishing rather than on designing for other publishers?
Aoibhe Ni: I have worked with a few magazines, and intend to keep collaborating with a range of people in the coming years, but it’s true, I do, primarily self-publish.

In the beginning it was out of necessity. With a market full of rookie designers, getting noticed can be difficult. The only way to prove myself, I found, was to self-publish and hope for the best. If I was good enough, and lucky enough, I’d get noticed.

Now, I do it because I am an impatient designer. I like getting ideas out there as fast as possible, letting people see what I’m doing, get a design to crocheters lickety split. When you work with a publisher, that process can take months, or years. I understand the need for the delay, but I’m not a fan of the waiting time.  (UC comment: The waiting time is tough, I agree – especially when you have a design you are very excited about.)

Aoibhe Ni’s Argo

 

UC: Tell us about your Legendary Shawls collection and your inspiration for developing it.
Aoibhe Ni: My inspiration came directly from some of my close, knitting friends. We’d often meet up, and I’d spend half the Stitch’n’Bitch session pining over their gorgeous knitted lace. “It’s easy”, they’d insist, “You just have to knit”. Now, while I DO knit, and I respect it greatly, my first love has always been crochet, so whenever they’d explain how to make a lacey section, or a create a nupp, I’d imagine it on a crochet hook and try to understand from that perspective. One morning I woke up and had a genuine “Eureka!” moment, and the techniques I have created for Legendary Shawls were born.

I use well-known knitted lace techniques, turn them on their heads and create unique, crochet fabric. I’m pleased that the technique also opens up a wide range of hand-dyed yarns for the crocheter who hates colour-pooling as the technique also helps reduce that problem a lot.

 

UC: Your patterns use both U.S. and U.K. crochet terminology. What do you see as the advantages and challenges of offering patterns this way?

Aoibhe Ni: I think, because crochet is a relatively young craft, certainly when compared to knitting and weaving anyway, that we haven’t found a common ground with our terminology just yet. As a result, I think it’s absolutely necessary to provide a pattern that is easy and enjoyable for everyone to read at their leisure. I believe there is nothing worse than paying good money for a pattern, and then having to struggle, so I do all I can to avoid that for my customers, and make my patterns as clear, enjoyable and regional as I can. I even have my free shawl pattern, Pax, translated into French!

I write first in UK terminology, because that is what comes more naturally to me having learnt those terms as I grew up, but I have little difficulty now, after some experience, translating back and forth at will. I think many beginners see the difference in terms as a huge stumbling block, but with more designers providing patterns in both UK and US, I think this issue will become less of a problem in the future.

And who knows, maybe some day we’ll all agree to a common set of terms and all this will be consigned to the history books!

UC: What are your favorite crochet books in your collection?

Aoibhe Ni: I actually have very few, would you believe? As I mentioned, I grew up with few crochet resources to hand, and no local book or wool shops to help me out, so most of my finished pieces early on were out of my head, and that early practise has stayed with me. I do love The Technique of Irish Crochet Lace by Ena Maidens, and I can’t recommend Crochet for Babies and Toddlers by Betty Barnden enough for beginners looking to branch out a little. It is the book I always went back to when friends and relations announced a new arrival.

There are some absolutely amazing books out there full of beautiful crochet that I would love to have time to work my way through, but designing is a full-time job, so I have no time left to enjoy anything created by my peers. Maybe some day!

Aoibhe Ni’s Snapdragon Shawl

UC: Do you have any crafty websites or blogs you frequent for inspiration or community that you would like to share?
Aoibhe Ni: When I teach my regular beginner’s classes around Dublin, I get asked this a lot, and I always suggest people check out PlanetJune for patterns and Attic24 for inspiration. I’d love to have a cup of tea with either woman. I imagine it’d be a very up-lifting experience.

Beyond that I use music a lot, and I get great inspiration from my Ravelry Group.  The members have come up with some wonderful adaptations so far, and seeing my own patterns in different colours and fibres can really spark off an idea. I love their creativity.

Aoibhe Ni’s You Spin Me Right ‘Round Rockband Drumkit Cozy

UC: What’s your next project?
Aoibhe Ni: My next project will focus on ladieswear. Provisionally called “Legendary Ladies,” I plan to do a small but interesting collection of tops, with a wide range in size. Blouses, t-shirts, shawl-necks, mini-dresses, who knows, yet, but it will surely be a fun year of creating, so watch this space!  (UC comment: This sounds like a lot of fun – I’ll be looking out for the collection!)

Thank you Aoibhe Ni for stopping by!

Book Review and Giveaway: 75 Floral Blocks to Crochet

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Today I’m sharing my review of 75 Floral Blocks to Crochet: Beautiful Patterns to Mix and Match for Afghans, Throws, Baby Blankets, and More by bestselling British needlecrafts author Betty Barnden.  St. Martin’s Press generously provided me with two copies of this collection of crochet motifs inspired by flowers, so I can keep my review copy and host a giveaway!

In the introduction, Betty explains that her love of gardening inspired her to create floral blocks.  Some of the patterns are modifications of traditional motif patterns with abstract floral influences, while others are complex designs that attempt to literally capture the look of different flowers.  The book features motifs of different shapes (circles, diamonds, hexagons, squares, and triangles), but blocks of the same shape are made the same size so they can be easily combined.  The samples in the book are made with DK (sport weight) yarn and a size E crochet hook and measure between 5-6 inches.

The book starts with a 20-page section called Useful Techniques.  This includes a review of yarn and hooks, an overview of US pattern abbreviations and stitch symbols (including a thorough explanation of the significance of different arrangements of symbols and tips for reading charts in the round or in rows), tips for making stunning motifs (including techniques for invisible finishes, weaving in ends, and starting in the round), and a chart that explains the care symbols on yarn ball bands.  There are also tips for arranging blocks, blocking, joining motifs, and planning block projects.  The section on edgings includes tips for working around the sides and corners as well as 6 patterns for edgings.

The next section is a 20-page Directory of Blocks which includes a photograph of each block, arranged thematically by color/garden inspiration.  Each block includes the pattern name and page number where the pattern appears.

The Instructions section is the meat of the book, and includes instructions for 78 motif patterns arranged by shape.  Each pattern includes the difficulty level and the method of construction, a large photo, and a pattern written with US pattern abbreviations and stitch symbols.  There is a key to stitch symbols at the beginning of each pattern, making this a great book for those new to stitch symbols.

The pattern breakdown for the 78 motifs is:

Motif types: 13 triangles, 26 squares, 6 diamonds, 20 hexagons, and 13 circles.

Skill levels: 33 Easy projects, 34 Intermediate projects, and 11 advanced projects.

Construction methods: 64 in rounds, 4 in rows, 1 diagonally, 2 decreasing in rows, and 7 combining two construction methods.

The final section, Projects, includes assembly instructions for four projects made with the motif patterns from the book: a hexagon throw; lined, frame purses using different shaped blocks; a cushion made from squares; and a triangle motif scarf.

75 Floral Blocks to Crochet includes blocks in a variety of shapes.  In spite of the floral inspiration, many are abstract enough to make unisex designs with different color choices.  The book is the only major compendium of motif patterns I’ve seen that includes blocks constructed in decreasing rows or diagonally.  The use of both written abbreviations and stitch symbols, the range of skill levels included in the patterns, and the technique tips shared makes this book a great choice for a broad range of crocheters.  This book would appeal to crocheters who love motifs or portable projects, those who want to learn to read stitch symbols, and crocheters who enjoy working with color.

I give this book 5 out of 5 stars for crocheters who love to make motif projects. But the rating is because this book is much more than just a pattern book.  The tips for reading stitch symbols and for making successful motif projects are very helpful.

Full disclosure: Two free review/giveaway copies of this book were provided by the publisher. Although I accept free books for review, I do not accept additional compensation from the publisher, nor do I guarantee a positive review.  My reviews are based entirely on my honest opinions. This also post contains affiliate links. You can read my affiliate and review disclosures here.

Giveaway

As I mentioned earlier, St. Martin’s Press has shared an additional giveaway copy of  75 Floral Blocks to Crochet, which is good for you all since I already planned to keep my review copy. (So far, I’ve made 4 motifs from this book.  You can see them hereherehere, and here.)

This giveaway is open to all readers with a U.S. address.  (Sorry international readers, but postage costs are just too high for me right now!)  Enter by 11:59 p.m. Eastern time on Monday, January 21, 2013. 

100 Snowflakes to Crochet: Interview with Caitlin Sainio and giveaway!

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Today, I’m excited to interview Caitlin Sainio, author of 100 Snowflakes to Crochet: Make Your Own Snowdrift—to Give or to Keep and host a giveaway for the book, courtesy of St. Martin’s Press.  (I’ve recently begun reviewing books for the Crochet Guild of America blog, which is where you’ll see my review posted soon.)

Caitlin can be found online in her Etsy shop, on Twitter, and on Pinterest.  All pictures in this interview are from Caitlin’s Etsy shop and are used with permission.  (Click on the pictures to link to the listing.)

 

Underground Crafter (UC): How did you first get started crocheting?

Caitlin: When I was in elementary school, my class held a craft fair as a fundraiser.  A couple of my classmates knew how to crochet, and in the course of the craft fair excitement, they taught me a few stitches.  I fell immediately in love: with the yarn, with the hook, with the shapes of the stitches, and with the fact that if you made a mistake, you could unravel it and try again.  I went home and took possession of my mom’s only crochet hook and a “teach yourself to crochet” book that she happened to have, and the rest is history.

Maple Leaf ornaments.
UC: What inspired you to start designing?
Caitlin: I’ve always liked to draw, and crochet design, for me, was a natural extension of drawing.  I realized early on that I could use stitches to create shapes, and that I could use those shapes to make more complicated geometric patterns and pictures.  Before I knew it, thread had become another medium for drawing pictures — like pens and color pencils, only three-dimensional (and with lots of little knots!).
White snowflake ornaments.

 

UC: What attracts you to the snowflake motif?

Caitlin: I love the symmetry of snowflakes, and I’m fascinated by the tiny, lacy patterns.  I also find snowflakes very relaxing to design, because unlike a crochet butterfly or maple leaf, a snowflake doesn’t have to look like anything in particular.  Sometimes I aim for a specific shape, but more often I just start a six-pointed base and keep crocheting until the snowflake seems to be finished.  If the result isn’t exactly what I expected, I can be happily surprised, instead of thinking, “oh…. that’s not right.  I’ll have to fix it.”

 

Snowflakes also have the advantage of instant gratification: they’re so small that a couple of hours is plenty of time to make a whole array of finished pieces.  This is good for me, because I don’t have a tremendously long attention span.  (I’ve been known to abandon afghans in midstream, but not snowflakes!)

 

Butterfly appliques.

UC: What is your favorite stiffening method?

Caitlin: I’m a fan of laundry starch.  I like the soft texture of the thread, and I’m not crazy about the plastic feel of commercial fabric stiffeners or glue mixes.  I used to make sugar starch, but I’ve since found that heavy spray starches produce a similar result, with less work on my part.

 

Large star snowflake.

UC: What was the design process like for 100 Snowflakes to Crochet?

Caitlin: The timing of 100 Snowflakes to Crochet was fortuitous, because I’d broken my foot shortly before starting the design work.  If you can’t walk or drive, it’s not a bad thing to have a lot of crocheting to do, and I was happy to spend a couple of months resting my foot and writing patterns.

 

When I designed the snowflakes for the book, my first priority was to make a good selection of basic patterns.  I tend naturally toward complex designs, and while the results can be lovely, it was important to me to include patterns that beginners could make, and that everyone would enjoy.  When those were done, I gave myself a license to experiment, sometimes working to create certain shapes, and sometimes playing with stitch combinations to see what would happen.  Once I had a hundred patterns, the rest of the process was just refining them: typing, testing, making modifications, and fixing mistakes.

 

White snowflake ornaments.

UC: 100 Snowflakes to Crochet includes tips for seven projects using the snowflake motifs. What are your favorite projects to make with snowflakes?

Caitlin: I like using snowflakes as decorative appliques, and I think they’re gorgeous on greeting cards.  Those projects are fairly easy to do, and the variation in texture (raised snowflake on fabric or paper) appeals to me.  My favorite snowflake project ever, though, was the Blizzard Scarf in 100 Snowflakes to Crochet.  It was a bit of a departure for me (I rarely work in yarn, and I’d never made a snowflake scarf), but it was a very satisfying project: the alpaca/silk yarn was fabulous to crochet, and the finished scarf is just beautiful.

 

White medallion ornament.
UC: Many crocheters are apprehensive about working with thread and steel crochet hooks.  Do you have any suggestions for thread crochet newbies?
Caitlin: I think the most important thing is to start with a comfortable hook and yarn, and then gradually size down.  That is, don’t go from chunky yarn to size 30 thread, and (especially) don’t start with a fine thread if you’re brand new to crochet: you’ll drive yourself crazy.  Instead, start crocheting with yarn, and then drop down to a finer yarn and smaller hook than you’re used to.  If, after getting comfortable with lightweight yarns, you still don’t feel quite ready to work with size 10 thread, try size 3, which is thicker (again sizing your hook to match).  Once you’re used to the thicker threads, you can work your way down to finer threads and smaller hooks.
Large lacy snowflake.
UC: What are your favorite crochet books in your collection (besides yours, of course)?
Caitlin: I really like Super Finishing Techniques for Crocheters by Betty Barnden.  It’s an excellent reference for everything from basic crochet stitches to neat finishing to more complicated “I wonder how they do that” questions, and full of helpful information and illustrations.  (UC comment: I love that book, too!)  100 Flowers to Knit and Crochet by Lesley Stanfield is another lovely book: the crochet patterns are beautiful, the knitting patterns make me want to learn to knit, and the whole thing is so pretty that my kids are always stealing it to look at the pictures.
Leafy green mandala.
UC: Are there any crafty websites or blogs you visit regularly for inspiration or community?
Caitlin: I spend an incredible amount of time on Etsy.com.  I sell my work there, but I also shop, browse, read, and socialize in the forums and elsewhere on the site.  I’ve learned a lot from other Etsy shop owners, and I continue to be amazed by the beautiful, clever, and unexpected things they make and sell.

Thanks, Caitlin, for stopping by for an interview!

The nice folks at St. Martin’s Press were kind enough to provide an extra copy of 100 Snowflakes to Crochet to one lucky winner.  This giveaway is open to all readers with a mailing address in the U.S.  Enter by 11:59 p.m. Eastern time on Friday, October 26, 2012.

I’m  blogging daily throughout October.  Visit I Saw You Dancing for more Blogtoberfest bloggers and CurlyPops for Blogtoberfest giveaways.  Search #blogtoberfest12 on Twitter.

Year of Projects, Year 2: Therapeutic

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I guess that crocheted motifs are my go to project when I’m feeling stressed, which is how I managed to finish 9 during another busy week.

 

My running total of grannies for charity is now 25, so I have 27 more to go.  Let me tell you a little about these squares.

1) First up is my version of the Rosebud Square from 75 Floral Blocks to Crochet by Betty Barnden.  The center is actually the block from the book, but to get it up to 12″, I added several additional rounds.  I think the block would look best in one sold color, as it is in the book, but I ran short on that color while crocheting.

2) This is my version of Squaring the Big Circle by Kate Jenks, and 3) is Puff Pastry, a great block by Donna Kay Lacey, who I interviewed a few months back.  I used up plenty of little yarn bits in my version.

4) Here’s another great pattern by Donna Kay Lacey called Bubblegum.  I had a moment of fear when it looked like I ran out of the yarn in the last row, but I was able to find another scrap in hiding to finish off my block.

5) This square is a variation of Precious by Julie Yeager.  I’ve been seeing a lot of her blocks popping up in my friend updates on Ravelry, so I thought I’d give it a try.  6) Then I got creative and designed my own block!  I’m working on a new version now that should clean up the pattern a bit.

7) By this point in the week, I thought I’d try something a little different.  I decided to look for a pattern that was in my collection but didn’t have a picture posted on Ravelry.  Of course, that meant that my version couldn’t have modifications, so this one is straight from the pattern: Square 17 by Colleen Gilbert from Contest Favorites Afghan Squares.

8) I also followed the pattern very exactly for Pineapples by James G. Davis from 50 Fabulous Crochet Squares.  The pineapple effect would have been visible if I used a solid yarn, but I’m glad I took the chance to use up as much of this variegated yarn as possible.

9) Finally, I tried to add another picture to Ravelry’s pattern database by making my version of the Owl Granny Square by Sarah Zimmerman.  Normally, I wouldn’t have made this block because I always think of owls as being harbingers of death rather than cutesy craft motifs.  It turns out that Sarah’s the only editor on Rav so I can’t add the picture to the pattern database anyway :(.  Any suggestions on what to do with this block?  I sort of feel weird donating it to charity because it has buttons which present a potential choking hazard…

That’s it for me this week.  I wish I could say that I think next week will be more peaceful, but I’m sure it will be equally rushed.  Most likely, that means you will see more grannies from me!

For more Year of Projects posts, visit Come Blog-a-long on Ravelry.