On a Search for the Perfect Project Bag

In my last post, I waxed poetic about fibres (I am aware that I am embracing my inner nerd on that subject). This time, I wanted to write about another subject close to my heart: the search for the perfect project bag.

Fair warning: the answer is not here. What I have realised, however, is that there is a perfect project bag/receptacle for each project, just not necessarily one bag to suit every project.

Crates

Let’s start with less of a ‘bag’ and more of a ‘receptacle’. I favour crates that measure around 12” by 9”, and are 6” deep. Mostly I buy plastic ones from Ikea, but I’ve picked up similar in B&Q and The Range. These are rigid, open ‘baskets’, that are easily moved from room to room, hold all the bits of yarn/notebooks/hooks/stitch markers/tape/scissors in one place and, when not in use, store easily in my works-in-progress cupboard. For a really big project (think large throws), I might upsize to one of the lidded crates that I inherited from my mum. She had a garage full of these, stacked up full of nothing very much. They each measure about 13” by 9.5” and are 8” deep. Not hugely bigger than my open crates, but enough to store the bigger project. I also have a range of felt crates, in various sizes. These I decorate with freeform crochet (well, why wouldn’t you).

Laundry baskets

Also more in the ‘receptacle’ line, I favour a nice basket. My mum had a vast collection of wicker baskets, which I don’t find comfortable to use as the wicker can snag on your work. I like a nice coiled rope basket (Ikea sell them). Many of the supermarket and homeware stores sell laundry baskets in cotton or linen, often with lids, which would work well too, especially for the bigger projects.

You could crochet your own, smaller basket. Chunky yarn and a smaller hook makes a very rigid basket for smaller projects. (Also made my hands ache, so I don’t make these very often).

Bags

The ‘go to’ item for any project. Who amongst us hasn’t used the nearest carrier bag in an emergency for stuffing all that we need to bring a project along with us on holiday. You have spent money on the pattern and fibre, you’ve invested time in the project – it deserves better protection than being stuffed in a crinkly plastic bag. I favour a large canvas bag with a drawstring top to keep my precious project clean on my travels. On a holiday recently, when my project outgrew the bag it had started off in, I purchased a very colourful, cheap, shopping bag because the colours made me smile.

You could, of course, crochet your own project bag. I made Toni Lipsey’s pattern for her Square One Project Bag from scrap yarns and use it for smaller projects when I’m travelling, or decorate a hessian bag with freeform crochet.

Lay Flat Bags

Who hasn’t drooled over the big name leather project bags – I know I have. However, I can’t justify spending £100 on a bag when I would rather spend the money on fibre. I did watch a video blog of someone comparing fake leather alternatives to these expensive bags, which set me off on my own research of ‘lay flat wash/cosmetic bags’. I settled on a quilted polyester travel bag from Amazon that cost me £14. I’m delighted with it – it opens out to lay flat which means I can see everything easily, and it zips up neatly into a compact shape that is easy to carry.

One of the advantages of having dedicated project storage is that you can put a project aside when it isn’t working for you, without losing the pattern, yarn, hooks and notes. Then, when you’re ready to revisit it, everything is still together. There isn’t a single “best” project bag —only the best one for the project you want to make. Perhaps that is why I’m having fun exploring the options.

If you’d like to see more of my ‘good ideas’, I share regular updates every Top Tip Monday on Facebook and Instagram. I’d love for you to join me there.

Until next time, happy crafting!

Sue

Why Fibre Matters More Than You Think

In my last post, I revisited my very first published Tunisian crochet pattern and started experimenting with a redesign. This week, I thought I’d step back and look at something that influences every project before the first stitch is even made: the yarn itself.

Two crocheters can follow exactly the same pattern and end up with finished pieces that feel completely different. The fibre you choose affects drape, warmth, stitch definition, durability and even how enjoyable the project is to make.

Cotton

A natural plant fibre, cotton is soft, absorbent and biodegradable. It resists pilling, but has a tendency to stretch when wet. Cotton has very little natural elasticity, so it doesn’t spring back in the same way as wool. One of my favourite cotton yarns is King Cole Cottonsoft DK, and I’ve used this quite a lot to make blankets and throws. It has a lovely weight, drapes well, and is very soft next to the skin. The only thing I’m always careful about is when I wash or block the design – after immersing in water, always lay the item out flat to dry. Some of my cotton blankets are large, and if I hung them out on a line to dry they would stretch horribly.

Wool

A natural fibre from sheep, wool is the traditional choice for knitting/crocheting. It is warm and durable, however it can be tricky to wash – who hasn’t shrunk a jumper by washing it too hot? Since I started spinning my own yarns, I have come to understand that ‘wool’ is a really broad term. It applies equally to a strong, rustic yarn spun from a Herdwick sheep to the fine, soft yarn spun from Merino. Personally, my own favourite to spin is Corriedale, usually in a blend with silk. One of my favourite commercial wool yarns is a Blue Faced Leicester from World of Wool in their Lowland range. I’ve just finished a shawl design using this yarn, which drapes beautifully. I’m thrilled to announce that the pattern will be in the World of Wool Yarn Advent Calendar 2026.

Acrylic

Acrylic is a synthetic fibre that is lightweight, soft and durable. It often comes in amazing colours and is usually less expensive than other fibres. The synthetic fibre is derived from petroleum. It is less ‘breathable’ than natural fibres, and is prone to pilling. I will use yarn with a little acrylic in it, because premium non-acrylic yarns are just too expensive to use exclusively. These days I very rarely buy 100% acrylic yarn. It has its place—particularly where affordability, easy care or allergies are important—but I find I much prefer working with natural fibres.

Bamboo

A sustainable fibre from the pulp of the bamboo plant, softer than cotton and hypoallergenic. Bamboo yarn has a glossy finish and this can make it feel quite slippery when working. It is also more expensive than traditional yarns, and finished items can shrink so this needs to be allowed for. I have only recently started working with bamboo. I like the finished feel of it (see my Strata Kimono), but it does take a little concentration to work with as the sharp point of the Tunisian crochet hook can split the yarn if you aren’t careful. That being said, the finished weight and drape are well worth a little extra effort.

Alpaca

Alpaca is a natural animal fibre that is softer than sheep’s wool and less prickly. It resists pilling and is hypoallergenic. Alpacas can be white, black or shades of brown, and these natural colours are lovely. The fleece can be spun into heavyweight or fine yarn. One of my absolute favourites, it has a wonderful softness and warmth without the weight, which makes it a joy to wear. Commercial yarns such as Drops offer a 4ply alpaca, or their aran yarn is an alpaca/wool mix. At Wonderwool Wales I found the lady who runs an alpaca farm and markets her alpaca yarn under Penrhallt Alpacas, and closer to home is Homefield Alpacas in Louth. Needless to say, I can’t walk past an alpaca seller without buying something.

There isn’t a single “best” fibre—only the best one for the project you want to make. The more you experiment, the more you’ll discover which yarns suit both your designs and the way you enjoy crafting.

If you’d like to see more of my fibre nerd showing, I share regular updates every Fibre Tuesday on Facebook and Instagram. I’d love for you to join me there and see what yarn I’ve been reading the labels of each week. I’ve also put up a (possibly) helpful free guide to a common range of fibres on my website. If today’s post has sparked your curiosity about wool and fibres, I’ve recently published a Substack article about learning to spin yarn and how it changed the way I think about fibre. You can read it here.

Until next time, happy crafting!

Sue

Rediscovering an Older Tunisan Crochet Pattern

In my last post, I shared some of the current projects on my loom, wheel and hook. One of the joys of being a designer is looking back at where it all began. Sometimes you discover just how much you’ve learned. Sometimes you find a design that still makes you smile, and sometimes you realise an old favourite deserves a second chance. I’ve been writing and publishing patterns for crochet and Tunisian crochet since December 2020, and currently have over 70 active listings across Etsy and Ravelry, with some free patterns on my own website. This week, I’m revisiting the very first Tunisian crochet pattern I ever published.

On the origins of a Tunisan crochet blanket

The very first pattern for Tunisian crochet that I ever published was, not very imaginatively, called the Tunisian Bobble Blanket. It was a relatively simple pattern that involved, unsurprisingly, lots of bobbles and the lovely Honeycomb stitch that helps counteract the curling that is often an issue with Tunisian crochet.

How it started

Back in 2020, in the midst of lockdowns, sometimes yarn became quite tricky to get hold of. My mum had a large stash of yarns that she needed to get rid of, and so I acquired nine 50g balls of Debbie Bliss Pure Cotton, an Aran weight yarn that had ceased being made in the 2010s, so clearly my mum had stored it for some time. It was in a soft sage green colour, not one I would have chosen but, as I say, I was not really in a position to be picky.

Armed with little more than enthusiasm and a handful of Tunisian crochet stitches, I started designing a small blanket. I wrote the pattern, checked it carefully, and published it to Ravelry for free (because hello lack of confidence). I never imagined how many people would download it. It remains one of the most popular patterns I’ve ever released.

Tunisan Crochet Pattern in review

Size-wise, the blanket works as a small throw, and can easily be made bigger by working more pattern repeats. I like that the pattern is asymmetric, and that the bobble stripe down one side adds interesting texture. The main body of the blanket, worked in honeycomb stitch, drapes beautifully. What needs improving is the edging. For some reason, I worked the outer borders in Tunisian Purl Stitch, which curls greatly, and then had to counteract that by working quite a chunky edging in standard crochet. Looking at it now, I can clearly see how much my Tunisian crochet technique has improved over the last five years. ‘Work the end stitch’ is the instruction at the end of most rows of Tunisian crochet, but where to insert the hook is not always clear. You can almost see my confidence growing across the blanket. By the end I’d finally worked out exactly where to place that elusive end stitch.

For the future

Revisiting older designs reminds me that creativity is a journey. Every pattern captures what I knew at that moment, and each one has taught me something new. The Tunisian Bobble Blanket may have been my first published Tunisian crochet pattern, but I’m looking forward to giving it the update it deserves and sharing it with a whole new generation of crocheters.

If you’d like to see more of my older designs, I share regular updates every Throwback Thursday on Facebook and Instagram. I’d love for you to join me there and see what I’ve been making each week.

Until next time, happy crafting!

Sue

What’s on My Hook, Loom and Wheel

In my last post, I shared some of the lessons I’ve learned throughout my crafting journey. This week, I thought I’d open the door to my studio and give you a glimpse of what’s currently keeping my hands busy.

If you’ve read my blog for a while, you’ll know that I rarely have just one project on the go. When I first learned to knit and crochet as a child, my Mum insisted that I finish one project before starting another. It was a sensible rule… but one that didn’t survive into adulthood!

These days, I have works in progress strategically dotted around the house so that, whatever the mood or the weather, there’s always something waiting for me.

On my loom this week

Recently I’ve been weaving with a lot of aran and DK handspun, so I fancied a change. This project uses commercial fingering-weight sock yarn, and I decided to challenge myself by warping my loom with the finest heddle I own.

I’ll admit, the warp took far longer than I’d expected. Setting it up became a project in itself, completed over several sessions with plenty of tea breaks in between.

I’ve used two solid colours for the warp, paired with a long-gradient yarn for the weft. Because it’s a cotton and acrylic blend rather than wool, the threads behave very differently—they don’t have that slight “stickiness” that wool naturally provides, so the weaving feels quite different.

My only regret is that I didn’t make the warp a little wider. I suspect I’ll have far more of the beautiful gradient yarn left over than I’d planned. Still, every project teaches me something, and that’s all part of the fun.

On my wheel this week

I’m nearing the end of spinning 200g of one of my favourite fibre blends in a colourway I’ve never tried before.

The combed tops came from Velvet Sixpence, and I picked them up at Wonderwool Wales earlier this year. Watching the colours blend together has been an absolute joy, and I’m especially pleased with how consistent the yarn has become as my spinning continues to improve.

I’m already wondering what it might become. A scarf? A waistcoat? Something else entirely? For now, I’ll just enjoy finishing the spin before making any decisions.

On my hook this week

This is where my inability to stick to just one project really becomes obvious.

Each crochet project lives in its own storage crate, making it easy to pick up whichever one suits the moment.

The largest is a cosy winter throw worked in beautiful undyed yarn from World of Wool. Unsurprisingly, it’s not getting as much attention as it deserves during the current heatwave—having a growing blanket spread across your lap isn’t the most appealing way to spend a warm afternoon!

Alongside that, I’m crocheting a lightweight crop top using a gorgeous indie-dyed sock yarn, which feels much more appropriate for the season.

I also have outlines prepared for two future designs, although I’m doing my best to resist starting them just yet.

Then there’s the project sitting firmly in the “naughty corner”: a Fair Isle knitted waistcoat that I started for myself last winter. The yarn is beautiful, but Fair Isle needs concentration, and somehow it doesn’t feel like a summer activity. I’m fairly sure it’ll find its way back into my hands once the evenings start drawing in again.

Other creative projects

It almost feels like a confession at this point, but yes, there are even more creative projects quietly waiting their turn.

Every now and then I enjoy beading, and thanks to my Mum I inherited enough beads to keep me occupied for several lifetimes. On those days when it’s simply too hot to work with wool, sitting outside in the shade with a tray of beads is a wonderfully relaxing alternative.

I also have a growing collection of smooth stones waiting to be wrapped and woven with the shorter lengths of yarn from my stash—a perfect way to use up leftovers while creating something completely different.

And finally, there’s my long-planned freeform crochet project. The yarn scraps are sorted, the sample motifs are ready, and the hessian bag they’re destined for is waiting patiently.

All I need now is the one thing every crafter wishes they had a little more of: time.

If you’d like to follow these projects as they evolve, I share regular updates every Work in Progress Wednesday on Facebook and Instagram. I’d love for you to join me there and see what I’ve been making each week.

Until next time, happy crafting!

Sue

The Yarn Chooses the Project

In my last post, I wrote about why I choose to make the things I do. This time, I want to explore the part that yarn plays in generating ideas for a new project.

My stash has developed over time. Originally it was stored in a loose colour order and was full of leftover balls of yarn, gifted skeins, abandoned projects and those impulse purchases that simply couldn’t be left in the shop. As my business has evolved, from crochet design into weaving and now spinning my own yarn, my stash cupboard has changed too.

These days I organise everything by weight rather than colour. Much of the yarn I use is aran or double knit, while the yarn I spin myself usually comes out somewhere around double knit or worsted weight. I do, however, have a weakness for sock yarn. Those beautiful indie-dyed skeins and irresistible gradient cakes seem to find their way home with me far more often than I intend!

Organising my stash this way means that when an idea starts to form, I can reach straight for the right weight of yarn to sample with. The colour is less important than the structure and feel of the yarn for those first crochet samples. When weaving, I also tend to keep the warp to a consistent weight, while enjoying a little more freedom to experiment with different textures in the weft.

Since learning to spin, I have become something of a yarn snob. I spend a long time reading fibre content labels at shows and in yarn shops, looking for yarns with a higher proportion of natural fibres. They may cost a little more, but I find them a joy to work with.

More often than not, it is the fibre itself that suggests the project. A basket of wool or alpaca immediately makes me think of cosy shawls, wraps or throws for winter evenings, while bamboo, linen or cotton seem to call out for lighter designs such as picnic blankets or airy summer cover-ups. Sometimes I don’t choose the project at all – the yarn quietly chooses it for me.

If you’re as fascinated by fibres as I am, you might enjoy my weekly Tuesday “Focus on Fibre” posts on Instagram and Facebook. There is always something new to discover about the materials we love to work with.

What fibre do you find impossible to resist? Whatever fibre you choose, I hope it brings you as much inspiration as it brings me.

Happy crafting,

Sue

Why I Make What I Make

In my last post, I wrote about mistakes. This time, I want to explore why I choose to make the things I do.

At its heart, I think I make because I need something for my hands to do. My family laugh because I can rarely sit down, whether alone or with other people, without pulling a project bag onto my lap. I like to joke that if my hands are busy with yarn then I can’t be eating biscuits, although we all know that isn’t entirely true.

My patterns tend to focus on functional items using simple shapes with plenty of texture because those are the projects I most enjoy making: scarves, shawls, cushions, hats and bags. I’m always drawn to pieces that are practical but still interesting to work on.

To reach a finished design, I usually create a collection of small samples to test stitches, textures and colour combinations. Some makers unravel their swatches and reuse the yarn immediately, but I prefer to keep mine until the project is complete. Afterwards, because I try to work with as little waste as possible, the samples often find their way into a freeform crochet piece instead.

During the lockdowns, I also began exploring weaving, starting with an inkle loom that my husband made for me from scraps of wood found in his shed. Originally, I simply wanted to weave sturdy straps for bags, and the inkle loom does that beautifully. I use mercerised cotton almost exclusively because the colours are vibrant and the fibre stands up well to the tension of weaving.

Once I had been bitten by the weaving bug, I moved on to a rigid heddle loom. This is where I allow myself even more freedom to experiment. I like working with the fibres I already have available and seeing where they lead me. Most of the time I sit down to weave without a fixed plan and simply enjoy the process. Sometimes that results in a beautiful scarf or shawl — still keeping to those simple shapes I love — and sometimes it produces an uneven piece of cloth that ends up cut apart and reused elsewhere.

Then there is spinning. I began with a drop spindle and eventually progressed to an Ashford Traveller 3 spinning wheel. Spinning has opened up another layer of creativity for me. I choose fibres and colours simply because they appeal to me, even though they often transform completely once spun. I’m still learning constantly, but I can now produce a yarn that is not only usable, but genuinely enjoyable to crochet and weave with.

In the end, everything comes back to the same simple thing: keeping my hands busy. The difference now is that I can do that using yarns I have spun myself, textures I have chosen deliberately, and fabrics that have evolved through exploration and play.

Whatever you decide to make, happy crafting

Sue

Colour Stories

In my last post, I wrote about tools as companions. This time, I want to talk about the colours I choose—and those I tend to avoid.

When I first learned to knit and crochet, and to read a pattern, I always used the colours shown. Partly because I knew they worked—they were often what drew me to the design in the first place—and partly because I didn’t yet have the confidence to choose differently.

Later, as a young mum, I was fortunate enough to complete a City and Guilds course in Design and Embroidery. That experience changed everything. I discovered that colour could be playful, surprising, even a little daring. I learned that mixing and blending shades could create something entirely new—and that nothing is ever truly wasted. Even the things that don’t work out can be taken apart, reimagined, and used again.

I think that freedom has stayed with me.

Purple has always been my ‘go-to’ colour. If I’m ever unsure where to begin, I start there. One of my early designs paired a rich purple with jade green—a combination I still love. A quick glance at a colour wheel shows they sit opposite each other, and I’ve often returned to that balance of contrast and harmony in my work.

Sometimes, when I’m lucky enough to work to a brief, the colours are chosen for me. While that can feel limiting at first, it often leads me somewhere unexpected—combinations I might never have picked, but which come together beautifully.

I also love the quiet magic of gradient yarns, where one shade gently becomes another, shifting the whole mood of a piece without any effort on my part.

And then there are the impulse purchases—the skeins that are simply too beautiful to leave behind. Those often sit for a while before revealing what they want to become. I’ve learned not to rush that process.

There are still colours I feel less at home with. Red, for instance, has never been an easy choice for me. But I’m beginning to explore it more, especially in blends where it softens into orange or deepens into something richer. Perhaps it’s just a matter of time.

Weaving, too, has taught me that colour behaves differently depending on how it’s used. The interplay between warp and weft can soften, sharpen, or completely transform a palette. Colours you expect to dominate may recede, while quieter tones come forward.

In the end, I think colour is deeply personal. There are no right or wrong choices—only the ones that resonate with you.

Whatever colours make you smile, those are the ones to use.

Happy crafting

Tools as Companions

In my last post, I wrote about slow making. This time, I want to talk about the tools that make that possible—the quiet companions that sit in our hands and shape what we create.

Mostly, I crochet. My mum taught me when I was about nine years old, showing me how to form chains with a slim metal hook. For years, those narrow hooks—sometimes metal, sometimes plastic—were all I used. I didn’t realise there were alternatives.

Then I discovered hooks with cushioned, shaped grips.

I started with KnitPro, as they were the most affordable, and gradually moved on to Clover Amour hooks. I even tried Tulip Etimo—beautiful, comfortable, and a pleasure to use. For a long time, I coveted a Furls hook. They look so elegant. I was lucky enough to receive one as a birthday gift from my daughter… but sadly (and I do mean sadly), it was simply too long for my small hands.

That was when I truly understood just how much variation there is in crochet hooks—and how personal the “right” tool can be.

Finding hooks that suit your hands is a game-changer. My advice? Start with the size you use most often and try different styles. You can always build your collection slowly. Of course, the temptation to buy a full matching set is real—I’m certainly not immune. The Knitter’s Pride Terra set somehow made its way into my basket one day, and I absolutely adore the wooden handles.

Some years ago, while browsing in my local wool shop, I came across a display of unusual hooks in beautiful colours. When I asked what they were for, I was introduced to Tunisian crochet—a technique I knew nothing about at the time.

Then the Covid lockdowns arrived, and suddenly I had the time to explore.

Tunisian hooks are either long, or shorter with a cable attached. I began with the KnitPro Symfonie interchangeable hooks (drawn in, I admit, by their colours). Over time, my collection has grown: a set of KnitPro Ginger hooks from my husband, which I love; a smaller set of Lantern Moon hooks, which come with the best cable key I’ve ever used; and an assortment of long, double-ended KnitPro Trendz hooks.

I also spin, and I’m the proud owner of an Ashford Traveller 3 spinning wheel. It’s a beautiful piece of equipment, and spinning with it feels both productive and meditative. I began with a simple drop spindle, which is still a wonderful, portable way to spin, but the wheel allows me to create yarn more efficiently while still enjoying the rhythm of the process.

Once the yarn is spun, I turn skeins into usable cakes using a yarn swift and a ball winder. Mine are the simplest (and cheapest) I could find—but they do their job perfectly well. Not every tool needs to be luxurious to be loved.

When it comes to weaving, alongside my rigid heddle loom and shuttles, the most unexpectedly useful item I own is a small wheeled trolley. It holds all my bits and pieces, moves easily to wherever I’m working, and—crucially—has space for a mug of coffee.

Because sometimes, the most valuable tools aren’t the obvious ones.

Over time, I’ve come to think of my tools not just as equipment, but as companions. Each has its own feel, its own purpose, and its own place in the rhythm of making.

Whatever tools you reach for, may they serve you well—and may they bring you joy in the making.

Happy crafting.

Slowness

In my last blog post I wrote about rhythm and routine. This time, I want to linger a little longer on something closely related: slow making.

Making things with yarn makes me happy. Crochet, spinning and weaving — my preferred methods of making — are, by their very nature, slow. No matter how urgent the project or how close the deadline, if something is going to be made well, it takes time. There is something quietly grounding about sitting down and picking up a project. Your breathing slows. Your shoulders soften. Your focus narrows to yarn and hook, fibre and spindle. Slowness isn’t a weakness in the process; it is the process.

Whenever I try to rush, it rarely ends well. I’ll spot a fairly calamitous mistake six inches back and end up “frogging” everything done in haste. Yarn has a way of reminding you that care and patience matter.

If you’ve seen my social media this week, it might look as though everything has happened at once. Two patterns released. A design published in a magazine. Very productive. Very busy.

But none of it was fast.

A magazine commission

The current issue of Simply Crochet includes a scarf pattern I designed. The initial concept was sent to the editor in June 2025. Colours and yarn were agreed. The deadline for submission was December 1st. After that, the pattern was tech edited, the scarf was modelled and photographed, and the issue was published in February 2026.

From idea to publication: eight months.

Sometimes deadlines are shorter, sometimes longer, but the principle remains the same. The making must be careful. The pattern writing must be clear and accurate. Time has to be budgeted generously and realistically.

And I will admit — it is always a thrill to see my work professionally styled, modelled and photographed. That part never gets old.

Pistachio Breeze Top

One of the patterns I released this week, the Pistachio Breeze Top, began life in November 2025.

I had a picture in my mind: an oversized top in a very particular shade of green. I spent time browsing yarns, considering weight and fibre content. Once I settled on the right yarn, I sampled. I sketched. I even cut the shape out of brown paper to create a template to work from.

From first spark of an idea to finished design, it took almost four months.

That is the reality behind what looks like a single “new release” post.

Every Last Scrap Cowl

The second pattern, the Every Last Scrap Cowl, is smaller — but no less slow in its origins.

The yarn is entirely handspun. Over half of it came from a Yorkshire Blends sample box bought from Wingham Wools in January. As part of my ongoing quest to improve my spinning, I spent a lovely morning at Old School Crafts Minting with Zoe, who showed me how to chain ply.

The spinning itself was slow and thoughtful. The design process was intentionally simple — I wanted the yarn to shine. The making felt joyful and, compared to the spinning, relatively quick over a couple of weeks.

The pattern is available free on my refreshed Free Crochet Hub page — a small celebration of using every last precious length of yarn.

A slow maker’s desk

I am, unapologetically, a slow crafter — and someone who always has several works in progress.

At the moment I have:

A scarf on my rigid heddle loom
A crochet shawl design in a glorious gradient yarn (for an intermediate crocheter)
A bobble hat in testing (for a confident beginner)
A Tunisian crochet poncho design almost finished (for a confident beginner)
A moss stitch shawl design started purely for the pleasure of something gentle and undemanding

On the spinning wheel, I’m nearly at the end of a sample box from Adelaide Walker, a Christmas gift from my husband. I have no doubt those yarns will find their way into a future design.

Slowness doesn’t mean stagnation. It means depth. It means intention. It means allowing ideas to unfold at the pace they need.

And in a world that often feels rushed, I think that matters.

Happy crafting,
Sue

Creative Rhythm & Routine

Rhythm and Routine: How Creativity Fits into Daily Life

I’ve had a little break from blogging — you may have noticed — because life has simply been busy. But even when I’m not writing about creativity, I’m still living it. So this week I wanted to reflect on how creativity weaves its way through everyday life, even when the days feel full.

An Ideal Creative Day

Sometimes creativity is carefully planned; at other times it’s squeezed into the gaps of a hectic schedule.

On a day with fewer responsibilities, the rhythm might look like this: a little spinning after breakfast while listening to a podcast,

followed by time at the computer — catching up on media, submissions, pattern drafting and writing. Later, uninterrupted time to crochet and test a more complex design.

After lunch, I walk the dog (often when my best ideas arrive), then home for a hot drink and a focused session on a current magazine commission. If time allows, I’ll weave before starting dinner.

Evenings are gentler. I pick up what I call my “evening project” — crochet that doesn’t require too much mental bandwidth, so I can listen to the radio or watch television while my hands are busy working.

It’s not always like this, of course. But having a loose rhythm helps. Creativity doesn’t demand perfection — just presence.

Seasonal Creativity

Design advice often suggests working ahead of the season — thinking about Valentine’s Day in October, summer in January. I understand the logic, but I find I simply can’t do it.

I respond to the season I’m in. When the weather turns cold, I crave cosy aran makes. When the sun appears, I long for light, breezy wraps. My creativity follows the temperature, the light, and my mood.

That said, the reality of publishing means some projects begin months before they’re seen. Occasionally, this means I do publish “on time.” More often, I publish when the piece feels finished — whatever the date.

At the moment, I’m working on:

a cosy wool cowl (perfectly seasonal),
a lightweight wrap (the bright yarn was bought in summer and is cheering me through winter),
an aran poncho (again, seasonally satisfying),
and an enormous Tunisian crochet blanket commissioned by a magazine for summer publication.

And if I’m honest, after a rather miserable phone call this morning, I’m very tempted to begin something entirely new — a little creative displacement activity. Sometimes starting is soothing.

Creative Spaces

Over the years, as my family has grown and left home, my creative spaces have quietly expanded throughout the house.

My daughter’s old bedroom is technically my “craft room,” but projects live everywhere. The magazine commission blanket resides in the dining room. My evening crochet and spinning wheel are in the living room. The weaving loom has taken up a semi-permanent residence on the kitchen table. The wardrobe in my son’s old room has been converted into yarn storage.

Creativity doesn’t stay neatly in one place — and I’ve stopped trying to contain it.

My advice? Always have a project to hand. Keep it in a crate or bag so you can move it easily. If a spare half hour appears, you’re ready. Those small, snatched moments add up. They form their own rhythm.

Returning to the Rhythm

After a blogging pause, I’m reminded that creativity doesn’t disappear when life gets busy — it simply changes pace. Sometimes it’s bold and productive; sometimes it’s quiet and restorative. Both count.

The important thing is to keep returning to it.

Happy crafting,
Sue