If you’ve read this blog for any length of time, you know what July means: the Tour de France and its celebratory knit-along! I already know I’m going to fail at completing this year’s epic project (on which more later), so I thought I’d at least kick things off with a little bonbon… after all, it’s been a while since there was a new free pattern up here, ne c’est pas?

How about a simple pair of fingerless gloves inspired by cycling wear, with just a few classy details? I’m calling these the Vilaine Gloves in honor of the river the peloton will cross on their way into the finish town of Redon tomorrow. I knit them using far less than one skein of The Fibre Company’s Savannah DK, a summery blend of wool, cotton, linen and soy, but the pattern is written with length and percentage measurements so that you can use a yarn of any weight from your stash.

If you’d like to have at it, the pattern is here: VilaineGloves

More pictures? Glad to oblige.

I used one of my favorite thumb gussets, placing the increases only on the palm side. This treatment is most useful if there’s patterning on the back of the hand you don’t want to disturb, but I like the way it looks in general.

Final point of polish: a professorial leather button to close the wrist band. One needn’t, of course, wear these gloves for actual cycling, so you can choose as dressy a button as you wish.

As always, please contact me right away if you find errors or tricky bits in this pattern. Full disclosure: I knit and wrote this sucker in the space of two days. During the first, the yahoos up the hill who can’t wait until 4 July to light their illegal fireworks panicked my poor dog, who jumped or squeezed under the fence and went on the lam for a night and a day, causing anxiety and heartbreak in all quarters. (Thanks to all that is good in the universe, she was not run over on Sandy Boulevard and kind souls Jean and Tim coaxed her into their home and reported her so I could retrieve her the next afternoon. She is terribly footsore but safely home.) Then last night the baby decided to conduct a one-girl circus in our bed for several hours. All this is by way of saying there are probably errors, so knit with sense and trust your judgment, mes amis.

from a little series we took as a birthday gift to my mother

If I were a photographer, I would do a whole study of children with books. During my senior year, my college hosted a show of Abelardo Morell’s photographs of books. I was ensorcelled. I’ve appreciated books all my life, first as vessels of story, later also as objects with their own beauty, but under Morell’s lens they become landscapes, new worlds taking physical as well as figurative form. (Appropriately, he illustrated Alice in Wonderland in 1998.)

I’ve been thinking about the beauty of the form magnifying the beauty of the content since I visited the Lloyd Reynolds retrospective exhibit at Reed College last week. (Alas, it has closed, so you can’t go see it now.) I had the chance to go with our fourth and fifth graders, who have been studying the arc of human achievement across the millennia, from the ancient constructions through the Renaissance, and have learned both calligraphy and typesetting. Lloyd Reynolds was internationally known as a great calligrapher and teacher of calligraphy; he also designed books and carved woodblocks and Punch and Judy puppets. He influenced pretty much everyone practicing calligraphy in the Northwest today and can even be credited with the existence of decent type faces for the computer, thanks to his sway over students like Steve Jobs (who dropped in on Lloyd’s classes after he dropped out of Reed) and Sumner Stone. The kids and their teachers and I admired scores of his hand-lettered signs, weathergrams, favorite verses and quotations, and diagrams of pleasing page formats and relationships between letters. Later we got to try our own hands at some calligraphy, and I was struck by Lloyd’s advice to his students:

The Order of the Black Chrysanthemum was his tongue-in-cheek name for the brotherhood of calligraphers, who could always be identified by the generous ink blots on their shirts, should they absent-mindedly place their pens in their breast pockets. And he wanted aspiring calligraphers always to use large pens so that their mistakes would be loud, proud, and easy to spy. Then they could do better the next time. I love this. It’s entirely counter to my own penchant for fastidious workmanship, but too often those efforts wind up crabbed and I never get the flow. My pen was not nearly large enough for my mistakes on this day, as you can see from my unlovely samples here, but I thoroughly enjoyed myself and have been seized by a desire to take a calligraphy class and to read the work of Edward Johnston, which Lloyd wrote was “a lightning bolt” for him when he studied design. I also wish there were a biography of Lloyd himself. One case in the gallery was devoted to ephemera from his investigation by the House Un-American Activities Committee; he refused the summons to testify and I found his words on the subject deeply satisfying: “I’m no hero, but I hate to get down on my knees unless I’m planting onions or looking for collar buttons.” They put me in mind of E.B. White.

After we’d done some practice sheets (the kids wrote out the Shakespeare quotations they’d memorized), each of us penned a weathergram — a poem of only about ten words written on a strip of paper from a grocery bag and hung outdoors to weather — and found a home for it on Reed’s grounds. There was lunch and a merry game of Capture the Flag, girls against boys. I only played defense because, although I am old and out of shape in comparison to your average healthy ten-year-old, I have much longer legs. But I made those boys think twice about an assault on our pile of cones. It was bliss.

Even better was the chance afterward to peek into the Special Collections library, a treasure trove of ancient books — Ptolemy, Pliny, antiphonaries, bestiaries, Isaac Newton — and beautiful art books of more recent vintage. The children had to hold the elevator for the adults who couldn’t tear themselves away at the end.

I returned to my usual job, which currently consists of wresting an algebra book out of InDesign —a program I am totally unqualified to use — and wished I could be spending this much time hand-lettering the darn thing or setting it in metal type. It feels ironic that, at a school so heartily devoted to making things by hand, I’ve got the job of translating it all for the outside world via computer. (Nobody senses this irony better than my husband, who knows just how limited my competence with computers actually is.)

I find myself longing for Ada to be a few years older so that she and I can make things together. I don’t want to rush these sweet baby days of wonder and discovery, but I picture setting up a scriptorium in the living room bay and the two of us crafting hand-lettered books. Right now my future calligrapher is screaming about the indignity of nap time and gnashing her stuffed otter with her gums in frustration, so we have a little way to go. I’d better go read her a book. One step at a time.

Oh, and my favorite thing from the Reynolds exhibit, a tiny woodblock print only an inch and a half wide:

Just before Ada was born — and only just: checking my notes, I see that our labor began four days later — I finished what I think is going to be the signature piece in her wardrobe for the next two seasons. My friend Jen had dreamed up an adorable new baby sweater (she knit a lovely lavender-and-yellow sample that Ada has been wearing all winter) called Baby Brioche; in a fit of third-trimester ambition, fired up by the brioche possibilities explored by Nancy Marchant, I adapted the pattern to use two colors. This month, it fits my girl.

(Mr. G saw this photo and said, “Is that our lawn?” He mowed it promptly thereafter. Thanks, love!)

10 months old and still no teeth!

A word about the hair before we get back to the cardigan: yes, it actually grows that way. But I like to tell people we get up at 5:30 in order to spend an hour fixing it just so with the curlers and blow dryer. I suspect we’ll be making appeals to all our curly friends for hair management advice, because Mama sure hasn’t had to deal with anything like this on her own head! I mean, do you even try to brush it? My friend Maria recommends a spray bottle of diluted leave-in conditioner, which sounds pretty reasonable for a squiggly toddler… But for now, back to the sweater.

Yarn: Socks That Rock Lightweight (NB: Jen’s single-color version is written for Heavyweight) in Blue Brick Wall (furrows) and a Rare Gem (ribs) that’s similar to Bumbleberry and Flower Power. It’s completely reversible; I sewed buttons on both sides. So far, I’m thinking this was worth the extra effort. I love the color combination no matter which side is out, and it’s so practical to be able to turn it around if one side gets foody or spitty when we’re on the go.

Needles: 2.75mm, US #2. Brioche is so loose and fluffy that you need to use a smaller needle than you’d think.

Modifications: I learned everything a person needs to know about basic brioche and two-color brioche from Nancy Marchant’s website and book, both of which should be considered knitterly world treasures. Don’t be intimidated by the new notation you’re going to encounter within; because brioche requires combinations of familiar movements (yarnovers plus knitting or purling and slipped stitches), it makes sense to offer a new shorthand, and that’s what Nancy has done. Jen has used Nancy’s system, and I think you’ll find it’s straightforward and sensible once you spend a little time with it. I will make my notes with the specific numbers necessary to recreate Ada’s jacket available this summer (or, um, as soon as I find them in my shameful mess of a woolery), but if you’re itching to start now, all you really need is Jen’s pattern and Nancy’s website. I cast on about 30% more stitches because I was using the lighter wool, and after stabilizing the cast-on edge I’m happy with the result, but the Channel Islands cast on and the brioche pattern are so stretchy that you could, instead, start with the numbers in the pattern and then add an extra increase round in the yoke before you divide for the sleeves. This would give you a sweater with a snugger neckline than Ada’s jacket has. Also, I added a round of increases halfway down the body to achieve a swingy line. I thought this would be extra cute on a little toddler and would work well with the single closure point I was planning, and I stand by that decision now that I see it on my babe. Especially since she came with lady tackle. I made no pretense of any intuition about her sex while I was pregnant, but apparently my fingers knew something my brain didn’t. Everything unisex I made for my little one kept turning just a little bit girly on me.

Love the short sleeves for increasingly capable little hands!

I expected to prefer the blue side, which is more to my usual taste, but I think this one suits her coloring remarkably well. She’s got a slightly ruddy complexion from her dad’s family and my rosy cheeks. (But she made up this fierce, impish smile all by herself. It goes with a rather scary growl when she’s excited. Not for nothing was my daughter born in the year of the tiger.) I can’t wait to see her staggering tipsily around in this jacket later in the summer. We have a lot of practicing to do, but Ada’s will is strong. Give me your fingers, Mama! Let’s walk! Rooooaar!

Elizabeth Zimmermann, in her wonderful Knitter’s Almanac, designates the month of May as the time to knit mittens for next winter. You’re digging in your heels, right? In the northern hemisphere, at least, May tends to bring the first really promising weather of the year; summer is just around the corner and we can finally forget about winter. Who hasn’t had enough of rain, wind and snow? The next winter isn’t for ages, and there are three whole months of lovely long, bright days ahead. Many people I know cease to knit entirely at this point in the calendar. (I call them foul-weather knitters. We fair-weather knitters have been seized by an addiction so bone deep that blistering sun and wilting humidity cannot keep us from the wool. I shall be joining squares of a thick wool blanket in the summer heat this year.) Anyway, it’s understandable if even year-round knitters are turning to swishy summer skirts and breezy tops in linen or cotton. And yet, Elizabeth was as practical as they come. “It is better not to make mittens in a hurry,” she wrote. “When snow flies and small frozen hands beg for warmth (sob), the actual knitting tends to be perfunctory and possibly scamped; one economizes on the number of stitches; one does not make the cuffs sufficiently long. The main object then is to turn out scads of mittens to appease the demand, and enjoyment of production is not what it might be.”

The same is true of winter hats — who hasn’t, in a hurry to be done, started the crown decreases too early and left the ear lobes exposed as a result? — and my daughter has just outgrown both her warm ones. Also, I am not optimistic enough to expect real warmth in the month of June, particularly at daybreak when my husband often buckles our girl into her pack and heads off to the coffee shop. (They bring me coffee in bed. I know. It’s an excellent arrangement.)

My kid has an enormous head. It’s in the 97th percentile, while her weight is 65th. Having spent many years looking at her father, I am not surprised that this turned out to be the case. (And I’m very grateful she was willing to start small at birth and then grow that noggin really rapidly once she was out.) But the hats sized for children 1-3 years old don’t fit any more, so I thought I’d best take an actual measurement before knitting her a new hat to make sure it would fit for next winter. Eighteen and a half inches, my friends. This translated to the Adult Small size of the pattern I’d chosen. Not the Toddler size or the Child size, the Adult Small. Ada is wiggly in general and also wanted to pull the measuring tape off her head to examine and taste it, so it’s possible I was off a little bit, but I thought I’d better play it safe. Adult Small it was, though I did go down a needle size because, really, Adult Small? An apprentice teacher at my school taught her class to use their own Reasonableness Detectors to check answers to math problems (you subtracted and got something bigger than the original number… does that make sense?), and this was pinging mine. But I didn’t go so far as making a swatch or anything. Another thing I’ve learned from Elizabeth Zimmermann is that a hat is an excellent swatch its own self. Plus the yarn was so delicious that I had no choice but to knit it RIGHTNOW.

Mopsy, from Blue Moon Fiber Arts… it’s my new favorite. You’ll never believe it’s only 10% angora. Cozy doesn’t begin to describe it. I want to knit a sleeping bag out of this stuff. And it loves to cable. I felt compelled to cable all the ribs on the hat even though the pattern doesn’t call for it.

Here we’re wearing it Dutch Girl style, with the ear flaps turned up. But turned down and pushed back is pretty hilarious, like Princess Leia on a wagon train. (I think the flaps will lie flatter if I actually give the hat a bath and a bit of blocking, but it’s tempting not to.)

And yeah, it’s plenty big for next winter. And the one after that.

P.S. This grown-up girl said “Mama” yesterday and I think she may actually have meant it. She was in bed with me, clambering about and practicing standing up, looking pleased as punch with herself when she managed it. I could see the wheels spinning as she thought, “The only way this situation could be more excellent is if I were also nursing right now.” So she huffed and puffed and bumbled herself sideways, stooped for the attack, then looked up at me with a big, milky, toothless grin and said, “Mama!” I’ll take it.