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​freia news & views

inspiration and mimicry

10/27/2019

 
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When I was telling friends and LYS owners that I would be moving from California to the Berkshires in Western Mass, without fail - after the inevitable "Why?" - everyone had mostly the same two comments:  "You know the winters are terrible" and "Wow, this will give you all new colors to inspire you!". My first winter, though bitterly cold some days, was ultimately survivable if perhaps a bit long in the tooth come April.  As for inspiration, it is endless. My colorful commute changes daily and never ceases to be jaw-dropping every.single.day..
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Spring is bright with luminescent greens in the new leaves, rainbows of tulips, purples in the crocus and lilacs and seas of pink rhododendrons. In summer the greens turn rich and deep, the roses come out, the saturation of all colors deepens. Autumn is unrelenting with waves of gold, orange, red, yellow, mustard, tan, ochre, rust and bright greens in the well-watered grasses. The branches show themselves as winter draws in and the wind takes the leaves from the trees, transforming the landscape to greys and browns. When the snow finally falls, the world can turn almost into a black and white photograph, still breathtaking in the lines of the hills and skeletons of the bare trees, while pops of color in the red barns, mustard houses and occasional blue skies remind you that each season is both long and short and the changes between them - at least here in the Berskshires - quite abrupt.
From my studio at the Norad Mill  I have views to the South, West and North through 10-foot tall windows. We watch the storms come in over the hills from NY or Vermont, safe in our thick-walled building. The beauty of the Berkshires certainly has had an effect on the colors I've produced, but as I sit here knitting yet another Ninilchick Swoncho, this time in a palette of browns, mustards, greens and reds, I'm thinking that as much as it affects my dyeing choices, perhaps even more, the seasons may dictate the colors with which I choose to knit, never more apparent than in the fall when I'm drawn to the palette so vibrant and glowing outside. 
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Whether it's mimicry or inspiration I can't say, maybe it's a case of full immersion into my surroundings and unconsciously bringing the color with me in my mind's eye as I go about my day. 

Do you find yourself following the seasons in your color choices? Where do you find your inspiration? Are you moved by the colors of fashion or social media, or do you go by the beat of your own drum?

Watercolors

10/7/2019

 
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A new concept in color
Picking colors is a little more challenging when working with multiple gradients in a single project. You have to look at how they all work together, across each gradient, decide how the colors will be placed and, if they abut each other, how that will change the look.

I had just finished my first Soldotna Crop (left) using a newish color for the body called Sprout. It was a bit of an odd bird, just shades of green, didn't really fit in with my other gradients, but I knew it was a keeper. The sweater looked great, and I had more ideas to fulfill.
Next on my list was the Ninilchik Swoncho, primarily to use particular gradients in the beautiful, chunky oversized motifs in the fair isle yoke. I loved the way this handful I'd picked played with each other; Canyon, Aurora, Chinook all have an earthy but modern appeal. From there, selecting the color to be the main part of the body wasn't going so easily. I didn't want a super dramatic gradient, but neither did I want a semi-solid. 
Since my list of sweaters in my queue was only growing longer I realized that I wanted to take a fresh approach to gradients. Time to create something that straddles the line. Something softer, with changes that stay within a single color but not the predictable dark to light. Shades of deep blues, pale creams, saturated reds. A hint of a change, not a rainbow. Something very wearable, but with a bit of extra interest, and so the Watercolor range was born. 
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For the Ninilchik I chose Coral Reef, an equal mix of modern and classic with shades of peach from dull to bright. Of the Watercolor range, Coral Reef and Fossil probably have the strongest color change. Due to the construction of the Swoncho, being extremely oversized in the body, the color does convert to less subtle stripe, but take the same Coral Reef and put it in a basic scarf and you'll get a gentle flow as you knit through the ball. 
From here I was off to the races! I put three of the Watercolors together in GardenGate by Jennifer Steingass. Using the rich red of Starfish for the body and Squid Ink with Surf for the yoke. This might be my new favorite sweater of the season. What was doubly fun for me on this project is that I used a Yarn Bomb for the body, 2 Shawl Balls for the sleeves and 3 Minikins for the yoke and cuff patterning. I will talk about matching the body and sleeves of the different gradient balls in a later post, it's not hard to do and looks fabulous! ​

In between projects I managed to slip in one more Soldotna .. (see my earlier post on Potato Chip Knitting.. clearly I have a problem... ). For this one I used Fossil, Pearl and Oyster, and our very bright Relish semi-solid for the trim. Another favorite of the season, like children, it's impossible to just pick one!
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What I love about the Watercolors is they open up a whole new world of possibilities. They coordinate beautifully with the more dramatic gradients, allowing them to play off each other gently without competing. They also work great as stand alone colors, with a bit more dimension than a semi-solid - adding a touch more interest without being overwhelming, making them great for everyday wear and perfect for sweaters and larger garments!
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    photo credit Shutterbug94549

    ABout Tina Whitmore

    Yarn Dyer, Designer, Dog Lover, in no particular order.. Founded Knitwhits in 2003, and Freia Fine Handpaints in 2010, introducing gradient yarn to knitting stores worldwide. Getting Hygge with it - warmth, comfort, color, texture, design, nature.

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