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Alfie cat

Alfie was a quiet cat, who did everything on his own terms.

I adopted him from the RSPCA in Sheffield on 16th December 2012. He chose me.  When I visited the RSPCA, I applied for a cat but I didn’t know what kind of cat.  When I walked round, I saw all the little animals in different stages of loss and worry.  Alfie was standing on his hind legs, scratching at the glass to get out.  I loved his spirit, his little fight.  Every time I passed his cage, he scratched at the glass – so that was it, he chose me and he was already called Alfie and he was about 4 years old but there was no other information except he had been mistreated.

In the spring of 2013, a feral, handsome, tabby started to come into the house and steal any food left behind.  He was terrified of me and ran across and through anything to get away from any human or any sound. When I was out, he would also fight with poor Alfie, who was a much smaller cat.   Finally, the tabby let me ghost stroke him when he was gulping food – in other words, I couldn’t touch him but I could stroke the air above him so that he might realise that I would not hurt him.   Until, one day, I caught him in the cat basket and took him to the vets to be castrated so that he would stop peeing all over the house.  After that, Tiggy loved me and tolerated Alfie and Alfie was carful around Tiggy but that was it, we were a small family and we shuffled along.  Tiggy was top cat and he was needy for my love and ate first and Alfie, was Alfie, he went about his day, choosing where to sleep and he ate as much as he could.

Four years later, I moved from that lovely little house on a steep hill, to a small ground floor flat in Sheffield so that I might be mortgage free and I could pay for myself to do an MA in Knitting at NTU.   The flat opened onto a large manicured green garden and both cats settled.  Tiggy ate as many mice as he could and Alfie slept on the soft grass.   During my MA, I fell in love with Shetland until finally, in 2020, I moved, lock, stock and two cats a thousand miles from the city to live in a croft house that faced the sea in Levenwick.   I transported the cats in a double cat pram which they fought hard and cried and whined the whole 12 hours up the country to Aberdeen to be released in our pet friendly cabin for the 14 hour journey to Lerwick.  On the ferry, they settled in my cabin, at Orkney, we were all woken by the great clanking of chains as the ferry docked in Kirkwall – both cats frightened by new sounds and when we docked in Lerwick, they had become little celebrities in their pram. 

We lived in a beautiful, untouched, 200-year-old croft house that faced the sea.   Tiggy loved the stone walls surrounding the place – them being full of tiny creatures to catch. He wasn’t afraid of the winds or rains.    Alfie loved the fireside; he warmed his face and didn’t leave his little spot.   He was scared of the stormy weather and when he ran out to the toilet, he hid under the bushes in the abandoned walled garden opposite to the house.   Who was I kidding? I was also scared of the storms.  The harsh winds made Alfie squint and flatten his ears to his head, something I didn’t know that he could do, he sat out on the wall – looking out to sea, he followed me to the byre behind the house and watched me dig soil, he sat in the deep window sills looking out at the skies and waited for me to return home his vantage point in the bedroom window, sometimes he would follow me to the end of the lane and nose up to the neighbour’s horses and he still loved his food.   By then, he had learned to purr and he was always there, just there for me.

In October 2021, I returned to the city.  A single Island life alone was too much for me, too isolated and too much alone in every way and I was a strong independent woman.  When we returned, I had no home or job and I continued to drag the cats around, I couldn’t find rented accommodation because of them and no one would take us in for short stay either.  I had them fostered out for a week or a little more 3 times and twice, I nearly had to give them up – the Rspca’s law is that they will take back any animal that came from there so they would take Alfie but not Tiggy.  I cried and dragged them from pillar to post until a friend took me and the boys in and finally, ironically, I bought a flat in the same place as the one that I sold to go to live in Shetland.  But the new flat I bought was a wreck and broken and ugly.   We made do.  We had a home and the boys went straight out into an area they already knew.  

We have been here for three years. Alfie watched the birds, sat with the badgers without fear, sent dogs running from his path on the pavement when he stood his ground, He only had two teeth but he was NO pushover and he still loved his food but over the last year, he had been renamed Alfie thin thin because he was getting thinner and thinner. In January, his breathing had bouts of what seemed like he couldn’t stop a rattling noise and I took him to the vet.   They said, that he would be a different boy in a month.  I took him home, he rolled in the sunshine, waited by the window at 3:30pm every day for me to return from work, and he met me in the car park when he heard me parking the car.  He still ate everything and wanted more and sat beside me purring more and more. 

I didn’t realise how much of our lives were together and how much we quietly meant to each other.

On Saturday 15th March, he woke at 6am and sat beside my face on the pillow, looking at me and purring.  I told him how much I loved him and how grateful I had been for his friendship.   On that day, he stopped eating, drinking and moving – except to find his comfort somewhere.  He sat on my knee for 2 hours and I knew that he was dying.   We went to bed and he crawled under the bed into the back corner – something he has never done before.  I placed him a cat litter tray under the bed and wondered if he would be there in the morning.  When I woke in the night, he was sleeping at the end of the bed. At 5am, he walked up the bed and got into the window sill above my head behind the bed.   He lay and spread himself in a long thin line, in the coolness of the window sill, his chin resting on his right paw, his face turned towards me in the bedroom.  His breathing was gentle and silent.  I put the pillows up the wall and sat beside him, telling him how loved he was, how special he had been and how he had been the best friend ever and I thanked him again.   

The pigeons cooed outside, the dawn chorus started at 5:30am for an hour and still he lay there with me silently crying beside him.  I didn’t want him to know I was sad, so I kept gently stroking him from his nose to his top of his head and he just looked and listened.   I told him that he was, ok.   Below the pale sunrise of Sunday 16th March, and a dawn chorus to wake anyone, Alfie began to slip away in a place of calm serenity, a place he knew and felt safe.  His once yellow eyes were all darkening.  I opened the window a tiny crack and he wanted to get out, so, at 7:20, I gently lifted him up to take him outside where, he rose, dropped, arched his back and stretched out long and took his last breath.  I sobbed a river holding him. 

It is the first time that I have ever sat beside the approach and final act of death.    I sobbed tears I didn’t even know were in me.    I recognised that his soul had left him and he became heavier.   I placed him in his favourite cardboard box where he stayed. 

It has been interesting to note his absence this week – he isn’t looking out of the window, or waiting to meet me, his nails aren’t hitting the wooden floor as he walks and he doesn’t peer into my face first thing in the morning.   I have greatly missed him, but today, Thursday, is the first day that I have felt a little energy again.   The sun brought a new gentle energy and oh, how Alfie loved the sunshine.  xx

We live in time

I’m  pleased to say that I am in the Fronteer Gallery Contemporary Textiles show in Sheffield, running until the 6th March.

My greatest, longstanding friends came to the opening yesterday at 4pm and I want to say thank you to Verity, Janet, Jane, Sue and Wendy.  It’s my first showing in Sheffield and I hope, not my last.

 

‘We live in Time’, is a knitted textile piece incorporating a hand- knitted vest and two photographs of sisters from 1970.  The work is about the gaps in the relationship between me and my sister and me not being able to reach her which also takes into consideration the Japanese concept of Ma, the spaces in between (間 )  the silences, the unspoken, past and present.

I was born on 26/06/1963, my sister 11 months later on 27/05/1964. Our mother dressed us identically for about 12 years until we tried to impress our own tastes upon the clothes we wore. My Grandad enjoyed the latest photographic technology available to a working-class man.  He took many photographs, particularly in 1970 when I was seven and my sister, six years old.  In these photographs, my sister and I stand beside each other but rarely touch – there is an unspoken physical and emotional space between us. All of the images were ‘set up’ in a way for my mother to show that her daughters were ‘well turned out’. 

There are hand written words over one of the photographs – ‘What about our Julie?’, which is what I always asked if I was ever given anything.  There is a poignancy from then to now, where there is still a wide gap between us.

I have knitted a vest in nine dark colours chosen by my sister as an expression of her choice now. When I asked her what her favourite colours are – she said, black, navy, dark red and mustard – I had to knit with some contrast. We were cut from the same cloth but with totally different personalities.  I knitted the same article for myself but it has 100 colours.

‘We live in Time,’ questions the discouraged individuality growing up in a working class home in the 60’s / 70’s –  and the ever growing space between sisters.

Here is the making of it –

If you would like to join me in a workshop to help you make your own vest, here is the link  and I created a chart of all the motifs and colours I used for the jumper – it is here. 

I have also been chosen to be part of the FarField Mill Contemporary Textiles Exhibition, in Cumbria,  running from March 19th to 1st June with two pieces.   I am very excited about this.  There is a ‘public favourite choice’, so if you get to FarField for the show, then, please take a look at mine – the two pieces to be exhibited are below 

It’s faintly snowing outside, her in Sheffield.  Have a good day wherever you are 🙂 

writing

Last week, I spent the most wonderful week at a writing retreat in Northern Scotland, not only because of the incredible location, the great food, the place always being warm and the fires lit, but mostly because I had dedicated to time to revisit the book that I wrote whilst I lived in Shetland.

 

Whilst I stayed at the retreat, I  reframed the entire way that my story was originally written into being mostly letters to Susan.

You may remember Susan Halcrow, (she is in many of my previous posts) who lived in the Shetland croft house that I bought from 1876 to 1960, who became a big part of my life whilst I lived on the Islands.  

I know  that in part, I also went to Inverness to hear and feel the wind that once accompanied 90% of my life in Shetland, and to see the 180 degree sunset where the sky turned pale pink, then peach and lilac into burnt pinks and deep oranges and to feel the heat from sitting in front of open fires for some time.    There is no finer place in the UK, than northern Scotland to see and feel the weather and the changing atmosphere.   I very much enjoyed getting up early to light the fires – particularly in the straw bale round house in the grounds, then waiting for the pitch dark stary sky to become lighter and lighter bringing in a new day. 

When I reread the story that I had written during the time of living in Shetland, I felt a sense of pride in the fact that I had moved to Shetland, had achieved and lived my dream, then changed my mind and left. 

While I was lived in Shetland, I designed and knitted two patterns inspired by Susan Halcrow.  The first was ‘Good Wishes for the New Year’ hat and secondly, the ‘Dear Susan’ jumper then easy aran version. 

 

I will be entering my new idea of this story in to an over 50’s emerging writer submission this week and also be submitting it to new agents.  I’ll keep you posted.  Wish me luck. Xx

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Fair Isle Hat Scarf pattern release

I am really excited to bring you my latest knitting pattern design – My Fair Isle Hat Scarf – which has  been a complete labour of love to create this twelve page pattern containing a complete guide of size, gauge, colours and all motifs used  in this hat.  There are 10 Full colour charts, over 8 pages, showing clear motif and colour layout, ranging from an A4 page full colour overview of the full bands of motifs making up this pattern –  to additional pages of magnified, larger scale sections of the charts in order for you to see them easily. 

Here is the pattern, if you want to go see https://www.ravelry.com/patterns/library/fair-isle-hat-scarf

Additional to the Fair Isle colour charts, there are written and photographic instructions and I have included a full Sanquhar alphabet and numbers 0-9 because I knitted words into my piece and the alphabet chart enables you to do the same or personalise your own work, with your own meaningful words, names or dates knitted into your hat so that you can make it your own. You can also add dates. 

 

This Fair Isle long Kep/ scarf, is a bright, fun, functional, practical, colourful, wearable long hat, designed using large traditional OXO and smaller peerie Fair Isle motifs to create a unique long hat.  It was originally designed as an exhibition piece by thinking how I can connect to my sister.  My own hat has expressive words knitted into it.  They’re from individual text messages sent to me by my sister – KEEP SAFE…  KEEP WARM…  JUST KEEP GOING… Remember, you can add your own words to make it your own creative work by using the  alphabet chart included in the pattern.

KEEP WARM, KEEP SAFE, and JUST KEEP GOING, are individual text messages sent to me by my sister, they are short simple and caring, meant for me but also act as reminders to herself. 

For the textile art exhibition, I titled the long Fair Isle hat scarf, ‘Trying to Just keep going’, but, it is also a wearable knitted artwork, using intricate, colourful, Fair Isle motifs to create a long hat /scarf.  You can easily follow the pattern and make your own artwork

My sister and I were born in the 1960’s.  I finished this hat/scarf as a tribute to her – to keep warm, safe and to just keep going.  There is some kind of paradox between the colourful, cosy, knitted piece and the texted words, which could seem irregular on a knitted hat. 

The words invite the viewer to read the piece through words and could raise the question of what  words in knitwear can mean to them.

    

On 5th Jan, I walked in the snow wearing both the ‘Trying to Keep Going’, hat scarf and the, ‘I Cannot Reach You’ jumper – I thought of the words knitted into the piece – KEEP WARM, KEEP SAFE,  JUST KEEP GOING, and I felt them all for myself, at that moment.  

The below words have been sent to me by Mary Mullens, who kindly test knitted this piece.  I asked Mary if she would like to test knit because she has attended my online workshop to understand how to blend colours, tone, contrast and pattern as well as knitting some of my patters but more than that, Mary has developed experimental skills and has been up for learning along the way.  She has very much enjoyed knitting this hat/scarf – here are her words.  She is happy to share them and her story shows that we do not know what people are going through and how the stabilising qualities of knitting help us with our mental health.  Me included. 

Test Knit of Long Kep for Tracey Doxey 2025 – Mary Mullins.

I have been knitting since 1986 when I had my daughter. I continued for a few years and made jumpers for my children. I then found life got in the way and also living with an alcoholic husband, my mental health did not help.

After many years alone and not really thinking of marriage, I met my current husband Mark and we married in 2018. He became critically ill from covid 19 in 2022 and was on a ventilator in ITU for 2 weeks, he needed emergency open heart surgery as the virus destroyed his valves. He then had a stroke while under anaesthetic and fractured his back. He developed seizures and lost most of his mobility.

As a result of this I was off work for 2 months and when I returned, I went back part time so I had time to visit him in hospital in London’s St Barts.

I don’t know why but I decided to knit again. It helped my mental health and I took it on with a vengeance. I have knitted 7 jumpers, numerous hats, 3 cowls, baby clothes and toys including Bag Puss and an Elephant. These items made great Christmas and birthday Presents as we had very little income due to loss of husbands earning and mine being cut in half.

Somehow my addictive personality has established a huge stash of wools of all kinds and gathered all the needs that I needed.

I also have hundreds of patterns that one day I hope to knit.

When Tracey asked me if I would like to Test Knit her new project, I was amazed to be honest. I never imagined I was good enough to do it. I have enjoyed this project immensely and it has really been a challenge as I was not aware of just how much feedback I was meant to give regarding the pattern ect.

I was a little nervous but embraced it in my usual enthusiastic way and dug out every strand of Jamison’s wool and wanted to use as many colours as I could. I found I had an extensive stash which fills 3 boxes and started straight away.

When thinking about the words I wanted to use in the kep I decided on “Lots of Love and Hugs”, I have conversations by wattsapp with my mum daily and we always close the messages this way. For the 2nd row of words, I am still thinking what to do. I have plenty of quotes that are especially meaningful to me so thinking keps on 😊

I have been using the tips I learnt in Tracey’s workshop for the colour choices to help with the sets of colour for each band.

Jamison’s do such lovely colours and there is a huge choice. One day I would like to have a ball of every colour.

This journey has been an amazing experience and I was chuffed to see my name and a photo of my work at the end of the pattern.

Thankyou Tracey for giving me this opportunity and all the very best with the launch.

Here are some images of Mary’s test knitting for  the long Fair Isle Kep scarf.

 

And here is Judy MacGlaflin’s test knit image.  A great big thank you to both Mary and Judy for knitting this piece.  I will update their test knit images in a future post. 

 

 
 

We Live in Time

we live in time exhibition piece
We live in time, exhibition piece

‘We live in Time’, is my knitted textile piece incorporating a hand- knitted vest and two photographs of sisters from 1970 (my sister and me)

The work is partly about the gaps in the relationship between me and my sister and me not being able to reach her which also takes into consideration the Japanese concept of Ma, the spaces in between (間 )  the silences, the unspoken, past and present. It is also about knitted garments for siblings over time.

I was born on 26/06/1963, my sister 11 months later on 27/05/1964. Our mother dressed us identically for about 12 years until we tried to impress our own tastes upon the clothes we wore. My Grandad enjoyed the latest photographic technology available to a working-class man.  He took many photographs, particularly in 1970 when I was seven and my sister, six years old. He loved his polaroid camera -these photos, though, were taken by a small new instamatic. In all of the photographs that I still have, my sister and I stand beside each other but rarely touch – there is an unspoken physical and emotional space between us. All of the images were ‘set up’ in a way for my mother to show that her daughters were ‘well turned out’. 

There are hand written words over one of the photographs – ‘What about our Julie?’, which is what I always asked if I was ever given anything and she was not – this was, of course, very rare. 

There is a poignancy from our childhood to now, where there is still a wide physical and emotional gap between us.

As a representation of  personal choice, I have knitted a vest in nine dark colours which were chosen by my sister as an expression of her preferred colours now. When I asked her what her favourite colours are – she said, black, navy, dark red and mustard –but,  I had to knit with some contrast so added pale grey, pale yellow and pale orange. We were cut from the same cloth but with totally different personalities.  I knitted the same article for myself but it has sleeves and 100 colours.

We Live in Time, is part of a larger piece called, ‘I cannot reach you’ where both pieces will be exhibited beside each other, not touching, and my jumper will be reaching.   Four photographs of us in 1970 will accompany the textile piece – showing how we always looked – for years. 

I cannot reach you
I cannot reach you – the same but different. 

‘We live in Time,’ questions the discouraged individuality growing up in a working class home in the 60’s / 70’s –  and the ever growing space between sisters.

If you are in Sheffield on Saturday, 15th Feb, you are invited to the private view, because it isn’t private and it’d be lovely to meet you from 4-6pm.  Come and look at some textiles.   Address in invite above. 

One and Two Cardigans

One and Two Cardigan’s, After Kosuth’s One and Three Chairs.

I finally saved enough money to have a perfect box frame made for the first and only yoke cardigan that I have ever made, way back in 2015.  I was never happy with the results, and hardly wore it.  The project was a learning curve of both knitting/ textile construction, steeking and colour work as well as my first taste of Shetland from my visit to Shetland wool week that year almost 10 years ago. After making it, the cardigan mostly lay dormant in my bottom draw for some years and I have, on many occasions, almost given it away.   

My reason for boxing it, is not sentimental but the fact that, unbeknown to me,  Francoise Delot- Rolando, a French artist,  painted the very same cardigan in her ‘Clothing Fragments Series,’ in late 2021 and in March 2022, she messaged me asking if she could post the image on her Instagram of the little painted mustard cardigan.  I had no idea what it would look like so she sent me images, which absolutely blew me away.  In March 2022, she generously sent me the little exquisite painting, framed in a French biscuit tin. It arrived when I was living for one week, in a borrowed house, six months after returning from Shetland, when I was moving from pillar to post without home or idea of home and I was very lost. Here is the post of that time https://traceydoxey.com/2022/04/12/tin-paint-paper-creative-generosity-and-kindness/

When the painting arrived, it took my breath away, made me feel connected to a woman I have never met, connected to her art, to my knitting, to living and creating work again.  She lifted my spirits in a very difficult time and I have always been grateful for her spontaneous, incredible generosity.   Her gift also elevated my knitted piece from a rugged cardigan in the bottom of a drawer to something to celebrate – a journey – a life. 

When I framed the cardigan, I sent an image to Francoise and she said that ‘there’s something of Joseph Kosuth’s, One and Three Chairs, about it.’  I hadn’t heard of the work, so I, of course, immediately googled it.  

Joseph Kosuth’s ‘One and Three Chairs’ was a conceptual piece from 1965 – the work consisted of a Chair, A Photograph of that Chair, and a printed text definition of the word ‘Chair’

Every time Kosuth, showed the work, he used a chair from the place of exhibition, so the work remained the same but different each time, with only 2 elements of the piece remaining consistent – the text of the definition, and the subject matter – a Chair.  Kosuth’s concern was the difference between a concept and its mode of presentation.  He unified concept and realisation.   The value of the piece was rooted in concept rather than the work’s physical / material properties.   Whereas, I have come about my combined piece the opposite way around – this coupling of the painting of my cardigan and knitted cardigan sits, not as concept – but as materiality and I suppose, women’s work.    One and Three chairs explored the idea of the nature of representation – same chair three ways. And in some ways, my piece could now be ‘One and Two cardigans’ but for me, it also raises the question that I return to repeatedly – the notion of what art is and what it should be.   I placed the two works together and was introduced to an Artist I hadn’t heard of before as reference to a similar representation.

I have long wanted to box frame the cardigan to sit alongside the painting of it but why elevate the old cardigan? It’s rough around the edges, its yoke colours jar with me now and all I see is how I would knit it now, how I would do better.  Let’s be honest, without the beautiful painting, it would not have been a consideration for me to frame this knitted piece.  At one time, I would have framed it as a sentimental reminder of my growth in learning a craft involving my love of Shetland, my first experiments with steeking (knitting in the round then cutting the piece open up the front to create an opening) such love and attention to the hand made buttons, such attention to its making would have at one time been a reason for me to frame it – but not now.  There was no romance in framing this piece, it is ART when placed alongside the painting, it is something more than itself.

I have finally placed it on the hand printed wallpaper that Emma did for me in Shetland – a Peggy Angus print from long ago.   Emma told me that the wallpaper was made to show art – but I always loved the paper too much to cover it – now ‘One and Two Cardigans’ sits on top of a small area of beautiful paper, elevating it even more.  Not everyone would see it this way, but I do.  The small details in life are what I live by, and then life becomes that beautiful small moment.  The small things count.

I invite you to consider this  – is my newly framed old cardigan, when framed and placed next to an oil painting of the very same cardigan, is it art? 

Is there a concept of knitting as art? Or is it a Textile artist’s work?   Kosuth focused on the idea of a chair rather than its physical representation, and now, I too have focused on the idea of The Knitted Cardigan.

Happy new 2025. 

Hoping for a year of creativity and small sharp points of beauty. xxx

outdoor knitting

In celebration of knitting outside for one year, for moving around the sun for another 12 months outside knitting, I wonder if I am filling time, or am I connecting to self? Why spend all these hours knitting and walking and sitting outside when there could be something better to do with my life. I saw a post yesterday, where Julia Roberts learned to knit on set and looked at a length of knitting as ‘lonely time’ It made me wonder.

Because I feel, completely calm and peaceful in my outdoor surroundings from the time of knitting temples of Kyoto one year ago this week, to knitting at my favourite place beside ancient abandoned millstones at Stanage Edge, or beside the work of Lee Ufan in the Summer Garden exhibition in the Rijksmuseum, to the simplicity of an early evening walk from my home in the city, through the allotments, beside the stream to wait for the King Fisher and knit – watching the sky change colour. Just sitting quietly and knitting. Am I filling time?

Could I be doing something better with my life other than working with my hands, creating art, out in nature, connecting to self, waiting for that one pure moment of natural beauty whilst knitting?  I have realised that all of these times have given me peace. I am not sure what could come close to that total peaceful time? maybe in the arms or a partner but failing that – I rely on myself to find the peace.

Happy Wintering. Peaceful moments in this time of world uncertainty.

If you would like to join me in my online colour work knitting workshop, then please go here , I have a few places left in January. And if you would like to join me for a 1:1 workshop, then please get in touch – I could take you out knitting in the wilds of the local area.

https://www.ravelry.com/designers/tracey-doxey

New easy pattern – Little Kisses Mitts

After visiting Amsterdam,  I have made a new little knitting pattern, which I started knitting and designing in the garden of the Rijksmuseaum  and finished on the Eurostar back to London.  Then I had to do the difficulty of writing the pattern out, getting it checked and test knitted.

But, here it is,  I’ve made a new Little Kisses Mitts pattern – the left mitt was knitted using greens inspired by the the garden against the pebble colour of Lee Ufan’s stones in the summer garden exhibition in the Rijksmuseum, in Amsterdam.  Then knitted a matching mitt to the green one but using berry colours – Cherry and Raspberry.   This pattern is a very easy knit using a cute peerie Shetland motif, which looks like little hearts in boxes – which is how I finally came to choose its name –   Little Kisses Mitts. 

The motif is very easy. It is only made up of 6 stitches and 6 rows, so, when you have set up the first round, you will not have to look at the chart again until the round to insert your thumbs.

The thumb is easy to knit. I have added clear written instruction and photo tutorial to take you through all the stages to produce neat little thumbs in your mitts.  There is also a little reel on Instagram which shows all the stages too – it is here. https://www.instagram.com/reel/DBtwzO4IUen/ go to the link to see the clip of knitting the thumb.

Little Kisses Mitts, Pattern uses 3 listed 4ply colours from Jamiesons of Shetland but you can knit it in 2 colours or as many colours as you would like to use from your stash. It’s a very quick and joyful knit with endless colour possibilities.   I knitted the both mitts in Jamieson’s of Shetland, Spindrift. In Pebble, Moorgrass and Mermaid – then in Berry colours using Dewdrop, Cherry and Raspberry.

You can also use JC Rennie Scottish Supersoft Lambswool 4ply which I also used after buying a lovely large ball of aqua colour in Amsterdam.

I have used 3 colours in each of my knitted examples, in order to make the knit reasonably priced – rather than the patterns that I have been knitting recently, which have grown in the amount of colours used in them.

The pattern is here    

Ravelry: Little Kisses Mitts pattern by Tracey Doxey

As always, thanks to Karen Barker for her brilliant checking of all of my details written in my pattern and to Gary Butler for knitting the mitt and giving advice on the pattern notes.   Your support is much appreciated

I would love to know what you think of using this tiny little motif in this easy pattern.

travel far or close up?

Is it true, that the longer we live, the more appreciative we become of the small things closer to home?

Such as the simplicity of setting off from home spontaneously on early evening walk, after teaching, just as the sun is setting far away, where the exquisite but simple chrysanthemums glow in the pink evening light in an allotment, or how the trees cover me in the woods but do not touch each other, and where I walk in an absolute carpet of leaves for miles while the sound of ever present moving water in the over flowing brook accompanies me. A change in 10 minutes from dusk to dark where I noticed every fleeting detail.

And yet, last week, at this time, I was in Amsterdam in the Oude Kerk (dating back to 1200) looking at, gently touching and enjoying beyond all understanding the hand painted linen walls in the Marriage Banns room dating back to 1760. It is called wallpaper but it is linen painted in the finest aqua, duck egg colour overlayed with exotic tulips, chrysanthemums and nasturtium.

These two moments, a time spent walking close to home through a wood at sunset, in the city and finding the blue lined walls in the oldest Church in Amsterdam, affected me in the very same way. A connection to absolute unexpected beauty.

so many things in Amsterdam affected me through the senses of sight and wonder – here are a few.

miss nothing. find joy in small unexpected things as well as the grander wonders of the world.

https://www.instagram.com/traceydoxey/

Sister Fair Isle Pullover roadmap.

This week, I finished my 2nd Fair Isle Pullover worksheet to make a vest for my sister. The finished vest, has been made for and about my sister, in that she chose the colours and she did not want arms. These decisions, as well as others, set the vest apart from my jumper, which uses 100 colours. I am now interested in exhibiting the two knits, side by side, as a piece called – I cannot Reach You.

Below are some of the instructions in the worksheet, which is easy to adapt into your own signature story in knitting.

Included in this worksheet, are 2, A4 sized complete, full colour charts used in my pullover / vest. Chart 1, is my full body chart and the sleeve is chart 2. All of the, (more than) 90 colours that I used in this jumper are listed. I am giving you the tools to make your own road map for your own vest or pullover, or scarf, or hat.


You can incorporate any of these 11 large Fair Isle OXO motifs and 12 peerie motifs into any of your own projects and use any colours that you have or even just use 2 colours.


The 190 row pattern charts, knitted in multiples of 24 stitch repeats, included in this work sheet, is not a jumper pattern, nor a vest pattern. What I have produced is a worksheet including the entire range of Fair Isle OXO
motif bands that I have knitted. I have built them into 2 large full charts with a clear centre stitch line marked so that you too, can either replicate my jumper entirely, or move the patterns and colours around to your own taste. One sleeve of my project is knitted in traditional OXO Fair Isle patterns – the other is
knitted using Aran twisting, following how I sometimes braid in my hair in French plaits. I have been asked many times, why I knitted an aran sleeve – why not? and people often have their opions on this sleeve, which is fine, but it is my knit and anyone can knit however they choose to – You don’t have to stick to EVERY rule. I have not included the Aran sleeve charts in this worksheet but the neck aran pattern is included.


The motifs and colours within this worksheet, are a treasure trove of endless possibilities for you to be creative and make your own vest or pullover by incorporating them into your own favourite vest or jumper pattern. Use any colours that you have, use any wool that you have, use 2 colours, or like me, use over 90 colours in your jumper. In the vest I used 9 colours. I am giving you a recipe for you to enjoy and work with in whatever way you want. I am giving you the tools and the freedom to make your own design. This is more than a pattern bank, I lay out how the patterns are aligned. I also explain the importance of a centre alignment.


Recently, I have been reminded of how Kaffe Fassett, in the 80’s made beautiful patterns in books and wrote, ‘ choose 9 balls of varied light colours and 9 balls of dark colours’ and people ran with that, me included. Sometimes, he would write – use double knitting yarn, sometimes he listed the yarn and the
exact colours. This worksheet is similar. It gives you all of the tools to knit your own beautiful projects and to be free with your own decisions. It gives you the chance to grow in your own understanding of your knitted projects.


I would love to see them on Instagram.
My jumper is knitted in Jamieson’s of Shetland spindrift using – some small lengths, some longer. These colours I have had left over from previous projects or workshops or designs. I just worked them together and alongside each other. I did swatch some colours to check how they worked, and I do recommend that
you do that too. As my colour choices are not often repeated in this project, not great lengths of yarn for each motif are required. But you can knit your own project differently.

Use your stash or buy just 4 colours or even 2. The choices and permutations are endless but this relies on you. It relies on being excited to try this idea and to develop your ideas. The project requires you to use your own favourite
jumper or vest pattern and figure out the centre front (which in my case, mirrored my centre back) and I knitted multiples of 24 stitch pattern to fit my size. Make sure that your motif bands align with the centre front. I have
made this easy for you by outlining the centre front line. Developing your sense of colour is achieved by enjoying colour, swatching to experiment for colour combinations.


It took me nearly one year to design and make this jumper – it took me 3 full days to map out all of pattern repeats in the motif bands and to chart every stitch used in the body and in the sleeve of my own knitting project that so many people wanted a pattern for. It has taken 2 more days to pull it together here. It took me a lot less time to knit the vest.


I knitted my jumper and the vest, in the round up until the arm holes, then I split it and worked on the front and back separately but at the same time so that I used the same colours. Make sure that the centre front stitch is the right one so that the motifs bands align above each other. In the chart, stitch 12 (out of the 24) is the centre stitch of the first large OXO motif. The charts are in multiples of 24 stitches.

The worksheet is a roadmap for you to experiment and live freely within your own colour / motif / pattern choices. I would love to see any projects that have been knitted using the worksheet which is here

https://www.ravelry.com/patterns/library/fair-isle-chart-2

lots more photos on instagram.

https://www.instagram.com/traceydoxey/