Vintage Knitting, Retro Dressmaking, Make do and Mend, Original and Vintage Inspired Knitting Patterns, Vintage Inspired books

Friday, October 02, 2015

Yarndale Success!

What a whirlwind Yarndale was this year!  As some of you may know, Yarndale is a yearly yarn festival taking place at Skipton Auction Mart in North Yorkshire, England.  It took place last weekend, the 26 -27 September.  As I’ve mentioned in a previous update of my blog, we decided to try a different layout for our stand this year.  One which gave a preview of the Vintage Shetland Project.

What wonderful feedback and interest we received!  We had three of the garments from the Project on display for people to examine and lust over, with a preview brochure for you to take home.  Plus we also had a ‘squishing rail’ of hanks of our lovely Fenella yarn with shade cards available.  My colleagues Tracy, Jo and Tess were also on hand to answer any questions, take pre-orders of the Vintage Shetland Project book and orders for all our yarns and kits.  We were overwhelmed by the response to the garments and the interest in the book.

Included in this post are photos taken by one of our fantastic customers, at the Yarndale show.

Here you can see the Beaded Yoke Sweater knitted in Limoncello from our Fenella yarn range and also a beautiful cardigan which is knitted in six shades of Jameson & Smith 2ply jumper weight.  This particular garment is one which I’m also displaying at my mini trunk show during Shetland Wool Week.  Here’s some more photos showing some of the detail on this very wearable cardigan.

My colleague Tracy’s, favourite garment was also on display.  This beautiful slipover is knitted using 5 shades of Jameson & Smith 2ply jumper weight and is such a timeless piece.

I know she is itching to start knitting it for herself!

It was such a pleasure to be able to share these garments with you at the show and to receive such positive and supportive feedback.  Thank you to you all.

For now,

Susan xx

Thursday, September 24, 2015

Home and Away

Autumn has arrived in this part of the world, the days are getting shorter and cooler and the mornings often begin with a mist laying heavy over the valley. It’s a beautiful place to live and work, but at the moment, I’ve had little time to contemplate those lovely views.  We are hard at work knitting, finishing, writing, pattern sizing etc all day every day often through to the early hours to make the Vintage Shetland Project the best it can possibly be. 

Last week, we began a series of photoshoots which are going to be taking place over the coming month.  This first shoot included some of the garments from the Project. 

There were also new versions of favourite designs which are being relaunched as single patterns very soon.

Here's I am in photographer mode photographing our fabulous new house model Becky wearing 'Diamonds are Forever' (in a range of suitably sheepy shades) and surrounded by some of our sheep. You can see the 'rear' of our gorgeous new Icelandic ram as he's being fed by Becky. And below, you can just see me going to any lengths to get just the right shot! You can also see 'It Cannot Fail to Please' knitted in Excelana 4ply Damson Wine again being modelled by Becky, braving the brambles and nettles to harvest some of Monkley Ghyll's very own Damsons.

Here I am styling the lovely Becky in the beaded yoke jumper from Vintage Shetland Project with a spectacular 'skirt' created using 8 metres of Vaila Organic Shetland Tweed.

I was so pleased with the photos from this shoot and can't wait to share more of them. In fact if you come along to the Yarndale show at Skipton, North Yorkshire, this coming weekend more of the images will be on display along with some of the finished items from the book. There will also be the opportunity to pick our new promotional brochure with images and previews from the book itself. With so much to do, Gavin and I won't be manning the stand this year, but our wonderful friends and colleagues Tracy, Tess and Jo will be there to help everyone visiting our dedicated Vintage Shetland Project stand. So if you are coming to the show make sure you call at stand 100 to get the chance to see these beautiful pieces from the book and don't forget to pick up a preview brochure.

Due to the huge demand for Fenella during and since the pubslush campaign our stocks are extremely limited until more undyed yarn arrives in October ready to head off to the dyers. Therefore at Yarndale we are only taking orders for Fenella not selling it at the show. There will be lots of information about yarn quantities and colours for the patterns along with the chance to pre-order kits for the likes of the Rose Cardigan

Along with your brochure you can also pick up the new Fenella shade cards featuring all 25 of our gorgeous colours, including the new colours - Sloe Gin, Alta, Melancholy, Balado, Rannoch, Verdigris, Caramel and Dolly Blue (my favourite) - more about these very soon. Kits for designs made using Jamieson & Smith yarns and our other limited edition yarns will be available to order on the website before Christmas.

As I mentioned in my last blog post we've been welcoming many new family members to the farm and just this week we have had a very exciting new addition - Iris. Iris came to live at Monkley Ghyll only last week and has already made a huge difference to efficiency on the farm. Here she is. Our fabulous International 784 vintage tractor. She may look a bit rough around the edges but she's a hard worker and we love her.

When I revealed her on instagram a few days ago I was directed to the The Mike Sammes Singers who sung the jingle for a new version of the International tractor - it was for the 'hydrostatic' which is a much fancier version than ours, however the jingle is well worth a listen :)

Thank you to Felicity Ford for sending me the link to this.

Straight after the Yarndale show I’m heading off up the country to Shetland for Shetland Wool Week. I have a lot of non-wool week work to do for the book whilst I am there but will be hosting the Vintage Shetland Project Trunk Show at the Shetland Museum on Thursday 1st October from 1pm-4pm. There is no booking required and the event is free. I do hope to see some of you there.

For now,
Susan xx

Sunday, September 13, 2015

So that was the month that was...

I mentioned in my last blog post that things would be quiet around here whilst I got on with the myriad tasks in hand for the Vintage Shetland Project, as well as all the other tasks that go on anyway. But I didn't expect it to be a whole month between posts.

August has indeed been incredibly busy. In addition to the research, knitting, finishing, writing, planning etc that is going on just for Vintage Shetland Project alongside the general running of our business, there is an endless list of farm tasks to do as we try to ensure we are ready for the oncoming winter. For the first time we will also be putting our ewes to the tup so come next Spring we will have our first lambs born here at Monkley Ghyll.

Despite the loss of fleece in our barn fire we are lucky to still have a number of Zwartbles fleeces sourced from local farms which will soon be going off for spinning and today we head off to collect a batch of Shetland fleeces from another nearby farm which we hope to turn into yarn very soon too. So although it won't be fleece from our own sheep this year, it will be fleece from sheep who live all around us and I am very, very excited at the thought of these yarns getting spun and what they will be like when they return.

We have added a number of sheep and goats to our little family here at Monkley Ghyll, with some very exciting yarn ideas in mind.

Poppy, Molly, Aretha, Etta, Nina and Simone joined us recently. These beautiful Herdwick sheep have settled in very well, the steep hills and stony ground of our farm seem to appeal to them! Known for their less than soft fleece I am experimenting with a number of ideas enabling us to make good use of this unique fibre.

Alongside them are our two Angora kid goats - Jake and Ellwood - these two boys will produce kid mohair for around three years. Their coats grow at such a rate they can be clipped twice a year and will provide 10kg of mohair each per year.

There are a number of other new arrivals who I will tell you about next but I will leave it there for now as there is much to do as the days grow shorter and the air begins to smell of autumn...

And the autumn mists come rolling up the valley

I'll be back soon,

for now,
Susan xx

Tuesday, August 11, 2015

An Enormous Thank You!

Slightly earlier than I had incorrectly calculated, the crowd funder for the Vintage Shetland Project closed in the early hours of Monday morning. I set my alarm for 5am to see the final moments and sit in stunned amazement at the incredible response to the campaign.

We raised an incredible £31,954 with 855 wonderful knitters supporting the campaign. In addition to this I received a further £685 of pre-orders in the 24 hours that followed - when the campaign should still have been running.

After processing fees of around 8% and a 2% contribution to literacy charities I will receive £29,258.65 via pubslush once the monies are forwarded to me. This is the agonizing part really, knowing you have raised the funds but not yet having them in the bank!

The money will go a long way. It will pay for a bigger print run than originally planned, some photoshoot expenses, additional research expenses, tech editing and proof reading costs, image licencing fees, pr and marketing, the little extras such as project bags and lapel badges and much, much more, including additional samples. It will also help cover the costs of having a new batch of Fenella spun and dyed to ensure there is enough yarn to fulfill all the yarn rewards that were chosen and also for me to purchase stock of Jamieson & Smith 2 ply for the same purpose. There are packaging boxes and bags to be purchased in anticipation of December’s mail out and I will also have to employ someone part time to help with the despatching of so many orders in December to ensure all orders are despatched promptly. Signing around 900 books alone is going to take some time! I’m also still working out the best way to manage wholesale orders, so if you are waiting to order books for your yarn shop if you can just bear with me for a little while and then we can hopefully get a smooth system in place before the publication date.

With the number of emails still coming in, I’ve realised that many people are still just finding out about the Project and are disappointed at missing out on the chance to pre-order a book. Due to the amount of time its takes responding to each email, I’ve come to the conclusion that I will have to set up ‘standard’ pre orders on the website sooner rather than later. So I should hopefully have this done by the end of the week. As previously mentioned however these orders will only be despatched once the crowder funder contributions have all been met - and most likely, after Christmas. I also won’t be able to offer signed books on the standard pre orders on this occasion as it really would just become an all-consuming operation. I feel quite bad about this but I really do have to get to grips with my own limitations!!

So what next? I will be spending every moment I can on the book - obviously I still need to run the rest of my business and the farm, but please bear with me if emails and the like take a little longer than usual to be replied to, as I will need to spend time really focussed on the book to ensure it is everything I want it to be. There have been moments during the campaign when the weight of expectation has felt heavy and the best way I can deal with that is allowing myself the space to dedicate myself to the book as much as possible.  I will keep in touch with all contributors via email but there is a chance that things might go quiet here on the blog and on social media!

And now, there are so many people I need to thank for their involvement and also for their wholehearted support of the campaign.

First of all every one who took part in the blog tour who not only took the time to write a post for the tour but really got stuck in and made the blog tour fascinating for so many people to read and enjoy. You are all stars every single one of you.

To everyone who tweeted, retweeted, shared on facebook and other social media, who wrote their own blog posts, regrammed, talked to friends, read each and every post on the blog tour. Thank you, thank you, thank you. You got the message about the campaign out far and wide.

To so many friends who really went that extra mile sharing the campaign again and again, including Tasha, Woolly, Jo, the ladies of Edinburgh Yarn Festival, Sweater Spotter, Kate Atherley, Rachel Atkinson, Adrienne of Williams Wools, Ella at Jamieson & Smith who wrote TWO blog posts, to Clara Parkes for mentioning the campaign on the Knitter’s Review - WOW! and made my professional career by tweeting this:

If you were to fund just one knitting project this year, let it be the Vintage Shetland Project”

To my good friends at The Knitter and Kate Heppell at Knit Now. To my friend Tess who has helped me in a million ways, to Karie for everything but in particular, ‘that’ sentence, to Felicity Ford who not only supported the campaign but gave me such great advice before and throughout, to Donna Druchunas who also shared her experiences with Pubslush and encouraged me to take the plunge, to Jen Arnall-Culliford who gave me a bloody good talking to when I needed it most, to Gavin who turned my clumpy video presentation for the pubslush page into something rather wonderful and wrote the most amazing post as part of the blog tour, to Ysolda who spent an entire afternoon filming our interview about the project and then spent two days and also two very late nights editing and battling the internet to get the video uploaded and to Louise Scollay who literally made this all happen. Louise has been the most supportive friend imaginable, pushing me when needed, supporting and bolstering me when confidence was low, checking my words again and again, and basically being the best right-hand woman ever! I couldn’t have done it without her.

To all the people who gave me support when our barn caught fire during the campaign and in particular to Caroline and Freyalyn who are going to try and save some of the fleece for me.

And finally to all the wonderful, wonderful people who have supported the campaign, who have sent me so many amazing messages, letting me know they believe in what I’m doing and really, really want to see the book in print. I am extremely lucky to be surrounded by so many folks who get what I do. To paraphrase one of those incredibly supportive knitters it is “wonderful that the knitting community has responded and confirmed that in this world of disposable fashion and superficial books there is not only a place but a genuine longing for books like the Vintage Shetland Project”.

Thank you for making my dream come true.

for now,
Susan xx

Saturday, August 08, 2015

My Vintage Shetland Project Video Interview with Ysolda Teague

The blog tour for the Vintage Shetland Project Crowd Funding campaign is drawing to a close in a quite marvellous fashion.

On my way back from Shetland a couple of weeks ago, I stopped by at Ysolda Teague's studio in Edinburgh, where we filmed a LONG interview all about the Vintage Shetland Project. Ysolda and I have often 'bumped' into each other in Shetland, most recently about 18 months ago when I persuaded her to take part in my experiments to see how reliable knitted swimsuits actually are! Ysolda bravely went swimming on a cold October day along with Gavin and Mary Jane Mucklestone and found that the swimsuits really did their job.

I will one day release the video of that day but but in the meantime, Ysolda has very kindly spent many hours editing our lengthy conversation and battled internet failures to publish our interview in pretty much its entirety. so why not settle down with your knitting for an hour and tune in!

After last week's server problems over at Pubslush, the very supportive team there, have extended the closing date for the campaign to this coming Sunday night, so you still have a couple of days left to 'pre-order' your copy of the book in time for Christmas.

And as I've got an extra couple of days before the campaign ends, I will try to publish a post either tomorrow or on Monday all about the size ranges that will be included in the book and also share a couple of the pieces in the Project.

You can find out more about the Vintage Shetland Project or to support the campaign at

But for now, I hope you enjoy our video cast and that you all have a great weekend.

Susan xx

Sunday, August 02, 2015

Pubslush Site Maintenance

ETA: I'm very pleased to advise that the Pubslush site is now up and running again after essential maintenance over the weekend. 

After having some problems accessing my crowdfunder page on the pubslush website I contacted them for advice. Unfortunately the site has had to have maintenance done over the weekend and is therefore currently unavailable until its completed.

My sincere apologies if you've been trying to access the crowdfunder but it should be back up very soon. As soon as I know the page is working again I will let you know right away.

I'm terribly sorry for the inconvenience.

for now
Susan xx

Friday, July 24, 2015

Decoding the Vintage Shetland Project

I've been waiting a long time to be able to share this guest post from my husband and creative partner, Gavin. When being interviewed about my books I frequently say that there would be no books if it wasn't for Gavin and his 'behind the scenes' role in their creation. And this has never been more true than with the Vintage Shetland Project. The project has taken over four years, without Gavin it would probably have taken another five!

For those of you who don't know Gavin, he is a graphic artist and designer who worked for over 20 years in the print and design industry before I kidnapped him and lured him into the knitting world to be my partner, continuing to use his graphic design skills to create our self-published books. We both split our lives between the business and the farm and have often struggled financially, however Gavin has never suggested we stop doing what we do, he has never tried to stop me pursuing my dreams, my desire to create better and better books and my endless quest for more research opportunities. He has never once said four years research was too long, too expensive, or self-indulgent. He is endlessly supportive, creative, inventive and tireless and without him I could not do what I do. 

So over to Gavin who has written a fabulous piece explaining his significant role in the Vintage Shetland Project

"When Susan sets out on the process of starting a new book it isn't long before it turns into a joint effort, with myself coming on board for the graphic art side of the project. My role is the creation and layout of the books - preparing the pattern text for styling and typography, editing the photos for colour balance, applying the colour correction needed, preparing any diagrams, schematics and charts, and lastly when everything is complete and ready to go, I create the press-ready CMYK files that will be sent to the printers.

At the early stages of the Vintage Shetland Project was the process of 'reading the garments'. This involved Susan closely studying the garment so as to record the construction and patterning stitch for stitch. We needed a way to transcribe the colour patterns of the many motifs that make up a single Fair Isle sweater. A daunting task in itself, but magnified hugely when the idea of creating a book full of these garments was decided upon.

After some discussion we came to the conclusion that the most productive method would be for Susan to analyse each stitch and dictate it's colour out loud to me, where upon I would sit at the laptop to record the result.

At this point it was obvious to me that I was no longer getting the holidays in Shetland that I'd envisaged - the fishing expeditions and the sightseeing trips I'd planned while Susan was to be busy working at the Shetland Museum Archive - now, I too would be 'busy' with the project.

We needed to devise a clear process, so we would be able to understand and make sense of all the transcribed notes we'd taken when we came to look back on them, at a later time. This was something that I felt needed some careful thought and I had some ideas that would help in the long term.

Along with my many years of graphic arts experience I've also enjoyed computer programming at a hobby level, and have found myself writing many programs to aid me in my work role, often to process photos or create images. In fact, whenever I find myself doing repetitive task at the computer I look to see if I can write a program to automate the process. It has to be said that the process of writing a program can often take more time than it would have, to have just sat there and completed the monotonous tasks that needed doing, but it's the challenge, the problem solving and the creation process that is the enjoyment of the programming - along with that 'Thank Goodness' feeling when it actually works.

Creating a Code
There's a whole host a ways to approach the process of copying the Fair Isle motifs in a garment. I'm sure most people will be familiar with the idea of sitting with a sheet of 'squared paper' or graph paper and a bunch of coloured pens and setting to colouring in the squares - indeed that is a process many Shetlander's have done for years and we've seen many personal collections of motif stitch patterns. Up until very recently, knitting was still taught in schools on Shetland, where children would drawn up motif charts on paper. But we needed a method that would be quicker than this. A method that would create charts that we could reproduce on a computer suitable for printing within a desktop publishing package. So a graphics package would seem like an obvious choice then, or even a knitting stitch design program - but I felt these options would be too slow and restrictive for the amount of work we had to get through. I decided upon a simple code that I could type out as we worked though each garment. That's right, the humble text editor was my choice of software for this task and a simple but well defined code that I could deal with at a later stage, and write come computer code to read it back.

Looking at a selection of garments from the Museum's collection I started counting the number of different colours of yarn each one used; 4, 5, 8 and one with 10 colours. Perfect I thought (being a nerdy programmer type) 'Hexadecimal'! That would give us up to 15 different colours in one garment. For those of you that don't know (and actually want to know) hexadecimal is the name in mathematics given to base 16, also often referred to just as hex. Unlike decimal (base 10) that is represented with the characters 0 through to 9 for the units, the hexadecimal units are represented by 0 through to 9 followed by A, B, C, D, E and F to represent numbers 0 to 15.

I'm sure there are some of you at this point asking 'but why hexadecimal?' (if there is, at all, anyone left reading this!) - all will be explained very soon.

The idea was to give each colour in the garment a number then type that number into the text editor to represent the stitch in the motif. As the motif was transcribed by Susan I would end up with a textual representation of it - something along the line of this:

As you can see, one character represents one stitch. So the reason for using hexadecimal as our code meant that if we get a colour 12 it is represented with the character C, which is still a single character wide. If it was represented as the decimal number 12 it would be two characters wide (a one and a two). As well as it messing up my nice evenly arrange textual grids on screen, a '12' would be difficult later for the computer to read back. How would it know we meant colour twelve and not colour one followed by colour two. Also, computer systems and many programming languages are used to dealing with hexadecimal numbers (as it maps to binary in a more convenient way than decimal does) making it easier for the programmer to use hex than one might first expect.

So off we set, on the process of reading and transcribing garments. First, Susan would write some detailed notes in her note pad about the construction, together with taking lots of measurements and jotting down as much information as possible together with sketches that would enable it to be reconstructed and made into a pattern. At the same time I would take stacks of photos. First a few images of the whole thing front then back. Then more detailed photos of the finer points such as the welt, cuffs, sleeves, collar, sleeve heads etc. Finally finishing up with a close up of each and every motif in order from the bottom up, so we had something to refer to later when we created the charts, once we were no longer in Shetland and no longer had the real thing in front of us to check against.

Next came the coding process: I'd open up a new file in the text editor and make a few notes of my own, such as the garments code that the museum has assigned to it for their database records, together with a brief description and some of the same notes as Susan had made, so we could cross reference our results later. Then, studying each yarn colour we'd give it a code number and compare it with modern day shade cards to see if there was a match to currently available yarns, both in colour and weight - which would all get typed in.

Starting with the first motif Susan would read out the number of the colour, stitch by stitch, beginning at the bottom right hand stitch working to the left, then up to the next row once the first row of the motif had been dictated. Meanwhile I typed the numbers into the text editor, but mine were reading from left to right, and top to bottom, which could be confusing at times when comparing our results.

As many motifs were horizontally symmetrical, i.e. after the centre row the pattern would mirror itself in reverse order, we developed a system that Susan would tell me when we were on the centre row and I would type a TAB followed by a c to denote that this was the centre row. Which saved a certain amount of time.

On and on we went, a motif at a time until the entire garment had been notated. Often taking two to three hours to complete one piece. Some days, we could spend the whole day in the museum archive and only get through two items.

Decoding the Results
We now had a code, but a code is not much use unless it can be decoded! So I set about analysing the data we'd obtained to create a computer program to do something with it. Namely, create a coloured chart ready for the knitting process.

Some say an important decision at the early phase of software development, even before the conceptual process of 'what will it do' and 'how will it do it', or the feasibility of 'can it be a marketable commercial product', is to come up with a really cool, snappy name - or at the very least a really good project code name. After all, would Photoshop be that well known if it was called 'The Painty Program'? Well, as it turned out I couldn't come up with that snappy, cool name, so Fair Isle Decoder is what it became.

Anyway, back to the actual programming task: The first stage was to discover the colour codes we'd assigned. The program looks through the text file until it finds the colour references and the description of the colour, which it display in a window in order. But a very basic colour description such as light blue, isn't much use, so alongside each name is a coloured icon that allows the exact colour to be set for that yarn. When all the desired colours have been set the colour definitions can be stored so that they are remembered for future use, or edited at any time.

The final task is to work through the file and draw the chart for each motif that's been transcribed. It finds the start of the motif which in the file is denoted with the text #start followed by the description or title of the motif that we've given it - usually a simple M1 for the first motif or Peerie etc. It reads each line in order until it finds the text '#end'. Each line is then analysed character by character (stitch by stitch) and each colour number is converted into the appropriate coloured square in the chart, remembering to reverse the order from left to right - top to bottom into the knitting chart of right to left - bottom to top. If it discovers a 'TAB c' at the end of a line then it has to treat this as the centre row and reproduce each of the previous rows in reverse order.

There was one last thing to add to the program and that is the ability to create a key for the charts. This draws the colour square with the name of the yarn colour along side.

It took a fair amount programming time to get to this stage, but there we have it, each motif is produced as a colour chart, in a vector graphics format, that can be further edited in a standard graphics package. Job done!
... well not quite!

The next stage in the evolutionary process of taking the information we had gathered thus far and turning it into a modern multi-sized knitting pattern now starts to get complicated. That's right, all that previous work turned out to be the easy bit. Yes, very time consuming, long winded, painstakingly laborious, hard on the eyes and extremely tiring by the end of each day, but nevertheless a lot less problematic than what was to follow, and I have to admit, that on other projects and books Susan has done I've never been too much involved with this stage. I am of course referring to process of multi-sizing. During this process a number of the garments brought about some interesting and difficult mathematical problems, inherent because they were never intended to be re-sized. They were personal creations, one offs, even possibly, somebody's own knitting experiment. To investigate how to solve some of these mathematical conundrums we decided we would test things by creating the piece in a virtual way.

I took the charts that had been created by my program and dropped them into a graphics package, there I repeated them across the page and arranged each motif and peerie in their correct order to create a virtual fabric of stitches that we could manipulate, cutting away and adding stitches where needed, inserting and removing whole rows until we achieved the sizes required and still keep the integrity of the original garment.

This process worked very well, but it was a lengthy procedure and took quite some time to move sections around just to insert the odd row here and there. It prompted me to think about how the process could be done differently, in a way that could easily be changed and edited but reproduced easily if, for example, we decided to change one of the colours in the charts. The process of creating these full page graphics of all the motifs together, with me at the controls of the graphics package and Susan working from her mathematical calculations, telling me how many motifs across, the number of rows to add of plain colour between between set of motifs made me realise that what was actually needed was a textual 'description' of how it should look, that could be easily edited and then adapted for testing other sizes.

My Fair Isle Decoder program already had most of the code I needed. It could produce individual charts and a key, so it just needed some extra method of being told how to draw everything required all on one page. Trying to describe how a page full of charts are positioned could possibly be a very lengthy and wordy process, but to me (being the nerdy computer type that I am), an obvious way to approach it is to handle it like it's a computer program itself. Or more accurately a scripting language. And so the 'Visualiser Script' was added to my Fair Isle Decoder.

Visualiser Script
The basis of the scripts are themselves just simple text files, containing descriptive commands, or functions to instruct it to draw what we want, where we want it. As a very simple example, lets say, we want the first motif repeated 10 times across the page, followed by the Peerie motif then the second motif. The motifs are numbered sequentially in the order they are written in the initial file we originally transcribed. So if the peerie was the 8th one described we would create a script as follows:

A whole host of functions allow some very complex design to be quickly and easily constructed. I'm constantly adding more functions when I come across a need for it to do something extra.

Some of the more commonly used functions are:
motif() - draws a motif, with the option of it being repeated many times.
partmotif() - draws just a part of a motif, with full control over which part is drawn.
plain() - draws a block of a single plain yarn colour for a given number of stitches and rows.

There are plenty of others that are pretty much self explanatory from their names, such as:
repeatbox(), text(), line(), position(), arrow(), key().

The emphasis behind it all, is that it can produce a graphic image that is ready to be included in the book, at a quality that's ready for printing, and that no further editing needs to be done in a graphics package before it can be used.

To date, the entire program stands at a total of 14,583 lines of computer code, an untold number of hours and still no fishing!"

I'm sure you'll agree with me that Gavin's programme is in itself a truly amazing development and without it the progress on the Vintage Shetland Project would have been infinitely slower and Gavin really deserves a huge, resounding cheer from us all!

If you would like to support the Vintage Shetland Project and pre-order your copy of the book please go to my pubslush page. The campaign runs for another 2 weeks and is the only way to be sure of getting a copy of the book before Christmas.

for now
Susan xx