Hand-made

Have "modish travelling-costume," will travel! (Image from NYPL Digital Gallery)

Connecting with enthusiastic craft-loving people is a big part of why I enjoy teaching my Handmade Then and Now class at the Library. And this weekend I will have the good fortune of talking with even more yarn devotees at Knitty City, where I've been invited to teach knitters and crocheters how to get the most out of the Library's collections. I'm more than glad to take my little Handmade show on the road.

Knitty City is a bright and cozy shop on the Upper West Side. It is brimming with books, yarns, hooks, needles, patterns, and friendly staff. The staff is knowledgeable, enthusiastic, and very welcoming. They know their fiber arts and have given me great advice and encouragement on sock making and yarn choice. In my class I will provide helpful hints on navigating New York Public Library as a whole, I'll share tips on searching for patterns (both new and vintage), and I'll bring along some examples to share. And if I've gotten far at all in my first attempt at socks (I'm following Cookie A's Hedera pattern, I'll bring my work along to share with you all. So please bring your own knitting too, and join us!

Saturday, June 21, 1:00pm
Knitty City
208 West 79th (between Broadway and Amsterdam)

Father's Day is just hours away. Have you ever offered to make dear old dad a handmade sweater, one sure to become a treasured part of your father's wardrobe? If you were contemplating making such a sweater in 1904, you might have chosen this pattern, from Stitches, a handicraft periodical that you can find at the Library.

After all, as the introductory paragraph explains, what man doesn't yearn for "a knitted house jacket, snug and warm, to be donned in the evening after dinner, when an armchair and a pipe and a blazing fire in the hearth are the acme of happiness? Or what more welcome at the office on chill days?"

Of course, Father's Day didn't even exist in 1904*, so you'd not have felt the pressure for that particular holiday. If any of you brave knitters out there tackle this pattern, I'd love to receive reports back on it. Enjoy! Stay tuned for more patterns from a century ago.

*Britannica Online reports that the first Father's Day celebration was held in 1910.

Staten Island's Halloran General Hospital, home of crafty recovering soldiers during World War II. (Image from NYPL Digital Gallery).

A few weeks ago at a Handmade Then and Now class (I'll teach this class next on July 16th at 2:15pm), I met a number of creative people, including a knitter named Maxine Levinson. Maxine works at the Child Life and Creative Arts Therapy Department of the Kravis Children's Hospital at Mount Sinai, where she teaches young patients and their families how to knit. I learned from Maxine how knitting, like other creative arts therapies, can reduce anxieties and provide a sense of security during sometimes long and stressful hospital stays. Maxine told me, "I am very fortunate to be able to share my love of crafts in such a unique way."

Before Colgate and other companies like it set up industrial shop, soapmaking was a home industry--and for some DIY entrepreneurs today, it still is. (Image from NYPL Digital Gallery)

Soap making is a thriving indie business. A recent quick search on Etsy led me to over 13,000 handmade soaps from which to choose, and the creative varieties are outstanding--from bars with city maps to bone-shaped soaps for dogs, you are bound to find the perfect concoction for you. Clearly you won't have to get your own hands dirty making soap unless that's what you're into (and if it IS, take a look at the latest issue of Bust--it offers a soap-making tutorial.)

For many centuries, however, soap making was a routine household chore, done in small batches using materials collected around the house. In Susan Strasser's eye-opening social history of trash, Waste and Want, she discusses how "spare fat" and drippings, as well as ashes (used in making the lye needed to create soap) could be collected and used to make soap at home. But even as commercial soap makers appeared on the American scene, the industry remained a "small, local enterprise before the Civil War." Strasser's study of the economics of American trash is well worth reading for much more than just the soapy bits, however. It provides a startling reminder of how radically our ideas of value and re-use have changed, and how old habits of recycling lost their place in industrial America.

To learn more about soap, and about the Western world's long-held suspicion of hot sudsy baths, I recommend Katherine Ashenburg's The Dirt on Clean. This memorable book considers the rise of soap (made at home using animal fats, but also later produced as a luxury item using gentle and attractive plant oils) and how its role shifted from that of a perfumed cosmetic to become the cleansing necessity it is for us today.

Mark your calendars for May's round of classes! (Image from NYPL Digital Gallery)

I was just browsing the Library's May events schedule and am happy to report that Library branches across the city will be offering lots of craft classes for a variety of ages this month. Search the calendar for these keywords--knitting, needlecraft, craft, origami, jewelry, crochet--and you'll find knitting circles, children's needlecraft lessons, my own HandMade Then and Now, origami classes, jewelry making instruction, and more. So come to the Library and join our community of handmakers.

Quakers gather to quilt. (Image from NYPL Digital Gallery)

While standing in line waiting for the doors to open for the Craftacular last Sunday morning, I overheard this snippet of conversation:

Lady A: Where are ---? Weren't they coming?
Lady B: They're at church. They'll come here after and meet us.
Lady A: Church? This IS my church!

And Lady A has, indeed, hit upon a truth. Creative acts have a role in spirituality that goes far beyond singing in church choirs. Anyone who knows of the meditative nature of knitting, or the way that focusing one's physical and mental energies on a single creative process can bring calm, will perhaps agree with Lady A.

In his book All In Sync: How Music and Art Are Revitalizing American Religion (available at NYPL's Humanities & Social Sciences Library), scholar Robert Wuthnow reports on how creating something--be it music, painting, sculpture, knitting, and more--is a spiritually soothing and community-building act. His work was striking to me because it reveals the great variety of ways that art and craft find homes in religious traditions and spirituality in this country today.

But the theme of spirituality-meets-craft isn't found just in Shaker communities or within the programming of traditional religions. The Church of Craft places the creative act center stage. I attended my first Church of Craft event as part of a DIY Salon night at the Museum of Arts and Design earlier this spring. The evening featured crafters from the New York Church of Craft who led us through lessons in the art of shrinky sheets, embroidery, button making, and more. The Church of Craft encourages people to gather and share the creative process within a community of individuals who value the spiritual elements of the handmade. There are pockets of Church of Craft all over, and the community is welcoming. They will surely welcome you too. They regularly announce their meetings in the Nonsense NYC mailing list, and you can subscribe here.

Yes, a slice of pie will sustain him nicely during his upcoming shopping and socializing at the Spring Fling! (Image from NYPL Digital Gallery.)

Come one, come all, to the latest addition to the city's calendar of craft events: the Bust Magazine Spring Fling Craftacular! It's this Sunday, April 27th, from 11:00am to 9:00pm at The Warsaw (261 Driggs Avenue in Williamsburg). The event promises photobooth fun, handmade crafts aplenty, food and drink, and dance as well.

This event is organized by Bust, a mag that has long encouraged its readers' latent crafty and DIY tendencies with regular features on making great stuff. Its latest issue (available at the Library in Room 108, the DeWitt Wallace Periodical Room), includes a sweater pattern, a tutorial on making your own flocked wallpaper, and details on how to subscribe to the Pie of the Month Club (created by an artist and pie lover who designs and sends out recipe cards each month). Really, what's not to like about pie recipes delivered to your mailbox?

The Library has years and years of back issues of Bust, so come in anytime to take a trip down alternative women's magazine memory lane.

From Shôchan no bôken, published in 1923. (Image from NYPL Digital Gallery.)

This weekend I attended New York Comic Con, an intense gathering of lovers of comics, gaming, and costumes. I went dressed as a librarian, in search of information on libraries' role in collecting, preserving, and making comics available to readers. Thanks to some great panels, I came away informed. And --no surprise here--I also came away inspired by the enthusiasm of readers and fans for this definition-defying genre.

In addition to wanting to learn about the role of comics in libraries, I was also on the hunt for publications that might combine comics and crafts. My favorite find is a series of books created by the team Aranzi Aronzo. From The Cute Book to The Bad Book, each of their books contains stories featuring a cast of quirky creatures, along with detailed patterns and directions on how to make your own little stuffed sewn versions of these strange characters. Brilliant!

Originally published in Japanese and now made available in English editions by Vertical, Inc., Aranzi Aronzo books are in dozens of NYPL branch libraries. So check them out (they are listed in LEO) and get started making your own handmade versions of the good, the bad, and the cute. If you are a fan of other comics-meets-crafts books, let me know your favorites!

Ahh, school days. (Image from NYPL Digital Gallery.)

As you might imagine, I am always on the hunt for interesting Library resources both old and new to share with the great wide world of the handmade. And next week I'll be giving a free one-hour class on how you too can use the Library's resources to satisfy your own crafty curiosities.

On Wednesday the 16th, at 2:15pm, please join me at the New York Public Library's Celeste Bartos Education Center at South Court. I will talk about how the Library's books, magazines, and databases can both inform and inspire you in your own handmade work. I'll bring along samples of pattern books and magazines, histories, and wonderful old craft books to share too. There's no need to register--just come on in and join me for this crafty show-and-tell.

Here are the details:
Wednesday April 16th, 2:15-3:15pm (classroom will open at 2:05pm)
First Floor, South Court Classrooms
New York Public Library
Fifth Avenue & 42nd Street

One last note: I'll teach this class two more times (at 2:15pm on May 21st, and at 2:15pm on July 16th), so please mark your calendars for one of these dates if you are interested but can't come next week.

A flea market from New York City's past. (NYPL Digital Gallery)

This past weekend saw the launch of The Flea, a new indie market set in the Brooklyn neighborhood of Fort Greene that will take place each Sunday this spring and summer. If the inaugural weekend is any indication, this Flea's going to be a monster success. I went with a friend who was visiting from Philadelphia (a town known for its own massive flea markets), and we were overwhelmed by the crowds of enthusiastic junk and craft seekers.
What I like so much about the Flea is that it incorporates indie crafters' wares into the mix of flea market finds, antiques, and foods. Two vendors I was especially thrilled to visit were Greenjeans, whose handmade items are super and whose blog on sustainability and DIY is a source worth visiting, and Lotta Jansdotter , with her appealing screenprinted fabric creations I love. And Etsy, of course, was there as well, connecting makers with buyers.
Speaking of buyers, if YOU have been considering turning your hobby into your livelihood, the Library can help. And since April 21-25 is National Small Business Week, now might be a good time to get busy. There are books such as Start and Run a Craft Business and many others at NYPL's Science, Industry, and Business Library. But also be sure to take advantage of the information and services available through the Small Business Resource Center and SCORE, Counselors to America's Small Business, a volunteer, non-profit association dedicated to providing guidance to those interested in starting a business.

Worldchanging offers greener ways to imagine a future changed world. (Image from the NYPL Digital Gallery.)

The latest issue of ReadyMade arrived in the mail last week, and I was happy to find within it an interview with Alex Steffen, one of the forces behind Worldchanging, an organization committed to promoting and supporting efforts to build truly sustainable ways to live. In the interview, Steffen states:

"I'm really excited about a movement that doesn't have a name yet. I see a common cause out there. There's this culture-wide movement amongst smart, usually young people to know what's behind the systems that you're dealing with. It includes anything from the whole new crafting-DIY aesthetic to people who are messing around with their local food supply and starting local farmers' market and CSAs; people doing biodiesel cooperatives or sustainable design. This movement of people is defying the fundamental expectation that marketers place on Americans."

Current interest in the handmade is indeed tied as often to an individual's commitment to redefining one's relationship to what he or she consumes as it is simply linked to a creative urge or a certain style. And Steffen's organization Worldchanging is a go-to source for education and inspiration when it comes to rethinking the stuff in one's life. So if your handmade tendencies sprout from an interest in upcycling, recycling, and stepping outside common consumption habits, check out Worldchanging online and also take a look at Worldchanging: A User's Guide for the 21st Century. NYPL has copies at the Science, Industry, and Business Library as well as in its branches. You might be surprised at how closely your crafty habits can be aligned with the green movement.

Happy St. Patrick's Day! (Image from NYPL Digital Gallery.)

The legacy of handmade crafts--tweed, lace, baskets, woolen knits, and more--has been sustained in Ireland over centuries. These handmade traditions are tied both to individual makers' efforts as well as organizations that worked to revive and sustain interest in cottage crafts and industries in the 1880s. Janice Helland's British and Irish Home Arts and Industries, 1880-1914: Marketing Craft, Making Fashion provides an illuminating overview of the organizations that fostered this revival, and the complex issues of class and politics that shaped the movement.

One cottage crafts revival organization was the Donegal Industrial Fund, founded in 1883 by Alice Rowland Hart, a London merchant's daughter. Hart had become committed to finding urban markets for rural Irish handicrafts after touring destitute Irish communities of Donegal. As Helland explains, Hart held exhibitions, opened shops, and managed sales of handmade Irish goods. Hart's efforts focused upon assisting Irish women in creating livelihoods, but she shared the some of the same romantic notions of pre-industrial craft held by William Morris and John Ruskin.

And what of cottage crafts today? The traditions are alive and well in Ireland today, as Betsy Klein shows in Cottage Industry: Portraits of Irish Artisans. A few of the many devoted artisans celebrated in Klein's book are Kevin Donaghy, who makes woolen tweeds; Rory Conner, who creates knives; Áine & Tarlach de Blácam, who produce woolen knits; and Sadie Chowen, who operates the Burren Perfumery.

To find more Library resources on Irish handicrafts, simply look in catnyp under the subjects Artisans--Ireland and Handicraft--Ireland. And online, the Crafts Council of Ireland is a good place to explore Irish makers active today.

This scene would take mountains of wool to recreate. (Image from NYPL Digital Gallery.)

I have lately been admiring the crocheted coral and other sea creatures designed by jpolka. But I did not know of the application of crochet to the hard science of the sea until I read about hyperbolic crochet, a means of creating complex models of hyperbolic planes using the basics of crochet--hook and yarn. The resulting works can be gorgeous as well as enlightening. Cabinet Magazine (available online and at the Library) featured in its Issue 16 Margaret Wertheim, director of the Institute for Figuring, Daina Taimina, and David Henderson, three leading thinkers in this field. The article provides a friendly introduction to hyperbolic crochet, and it is illustrated with examples of the crocheted works by Taimina. Wertheim is currently at work curating a woolly New York Reef, and contributors are invited to take part.

And, on Tuesday, April 8th, at 7:00pm, craft will collide with science at the American Museum of Natural History, when Wertheim talks with Kate Holmes, a marine biologist at the museum. As described on the museum's site, the evening's topic will be "the plight of coral reefs and the art of 'hyperbolic crochet,' a fusion of handicraft, mathematics, marine ecology, conservation activism, and collective artistic practice." Entrance fees will be $15.00 per person, or a reduced $13.50 per member, student, or senior citizen. You can read more about the evening on the museum's events page.

I hope to see you there! In the meantime, you can get tips on creating your own hyperbolic creatures at the the Institute for Figuring's website.

The Girl Scouts have been planting trees for almost 100 years. (Image from NYPL Digital Gallery.)

Yesterday, March 12th, marked the 96th anniversary of the first meeting of the Girl Scouts in the United States. Since Juliette Gordon Low's first gathering of "girls in green" in Savannah, Georgia, in 1912, Girl Scouts have been doing good deeds and learning in both the "outdoor laboratory of the camp" as well as the "indoor laboratory of homemaking" (as these two realms were called in the 1937 publication, Twenty-Five Years of Girl Scouting).

Girl Scouting always sought to offer girls more than just lessons in bee keeping and first aid. Low, who based her American Girl Scouts on the British Girl Guides (whose existence grew out of the British Boy Scouts organization), wanted to offer girls the chance to develop their individual "aptitudes through recreation," and the opportunities have grown over the decades. Although homemaking and pioneering were considered to be worthy skills to master, Girl Scouts were soon encouraged to embark on--among dozens of activities--nature study, handicrafts, rifle shooting, birding, dancing, and ambulance driving as well. For instance, the 1923 Scouting for Girls handbook outlined how Girl Scouts could earn proficiency badges in everything from electrician to dressmaker, from dairy maid to handy-woman. And in the realm of handicrafts, Arts & Crafts with Inexpensive Materials opens a particularly wonderful window to Girl Scouts' crafts aesthetic of the 1940s.

And, as revealed in Brave Girls by Harriett Philmus, Girl Scouts and Girl Guides heroically set aside their block printing and pottery (skills once needed to earn a proficiency badge as craftsman) during World War II. These women were saboteurs, secret couriers, nurses, barricade builders, fighters, wire tappers, and supply distributors. And they risked, and sometimes lost, their lives through this work.

Today's Girl Scouts continue to look beyond their own circles of friends. As Trefoil Round the World explains, recent Girl Scout projects have included supporting education and health efforts in foreign countries, embarking on tree planting, and starting recycling programs. To learn more about the Girl Scouts today, a visit their site is a great place to start. And among the many histories of this movement available at the Library, Susan Miller's Growing Girls: The Natural Origins of Girls' Organizations in America provides a satisfying critical look.

No, not that sort of fishnet. (Image from NYPL Digital Gallery.)

It's relentlessly cold and grey in New York today, and on days like this a pair of cozy wool or cotton tights are just what the meteorologist ordered. But in the days before a lady bought such winter luxuries, what did she do? And what patterns might be available for today's maker?

Not surprisingly, there is a healthy interest in handmade socks and stockings in the knitting world, and first-time sock makers can find many satisfying patterns as well as plenty of helpful tutorials that go over the intricacies of heels and toes. Knitty is just one of many free friendly sources for guidance and patterns, including Cookie A's pattern for lovely lacy ones or these racier stockings that could melt snow on the coldest of days.

For those seeking vintage patterns, there are plenty of options both at the Library and online. An 1880 publication called Stocking Knitting: A Manual of Household Industry offers patterns for stockings in a variety of patterns. And lest the men feel left out, Maud Churchill Nicoll's World War I-era Knitting and Sewing: How to Make Seventy Useful Articles for Men in the Army and Navy offers illustrated patterns for no fewer than ten types of socks and stockings, including trench stockings and seamen's stockings. She also wrote a manual on sockmaking for both "amateur and expert knitters" that offers advice for those making socks and stockings for both men and women.

Online, the Victoria & Albert Museum offers free patterns from the past at a section of their website devoted to knitting in the 1940s. Their pattern for fishnet stockings is impressive. I'm particularly interested in tackling a lace stocking pattern that I found online at Vintage Purls. Be they fishnets or cables, trench stockings or open-work, happy stocking making!

(William brought a traveling mint along too, to speed the creation of coins with the new kingly and queenly mugs. Image from the NYPL Digital Gallery.)

I've been making an effort to sort out my English history once and for all, and lately have been reading my way around the seventeenth century. And what have I learned? All about William of Orange's use, in the year 1688, of a traveling hand press to churn out political propaganda.

William of Orange, along with his wife Mary, tidily orchestrated what has come to be known as England's Glorious Revolution of 1688. This transfer of power unfolded through both military and propaganda campaigns. And, as one might imagine, that traveling printing press was part of the latter. As William moved across England on his way to London to claim the English crown for himself and his wife (who was English royalty,incidentally), he arranged for pamphlets, broadsides, and declarations, and even early comics of a sort to be printed and distributed across the countryside. Copies were given to local printers and booksellers to distribute to townspeople, and the texts were read aloud at public venues as well.

Historian Lois Schwoerer has shown in her research that on-the-fly media creation was just one element of a long and savvy print campaign on the part of William of Orange to lay the groundwork for his claim of rightful possession of the crown. In her article "Propaganda in the Revolution of 1688-89," Schwoerer explains the prominence of printing as a campaign element: "William was really prepared to keep the presses rolling for his cause after he landed in England. What better proof is there of this intention and his interest in propaganda than the fact that he brought a printing press with him--along with soldiers and horses--as part of his invasion equipment?" "Propaganda in the Revolution of 1688-89" appeared in American Historical Review's vol. 82, no. 4, p. 843-874, and is available via JSTOR at the Library.

Other sources of information on the history of this period include Britain's Bloodless Revolution, William III and the Godly Revolution, Arts and Society in England Under William and Mary, The Declaration of Rights 1689, and The Age of William and Mary. Additionally, digital editions of documents created during this propaganda campaign are ready to be viewed in Early English Books Online (EEBO), a database available at the Library.

Did these little fellows see their shadows, I wonder?

Happy Groundhog Day to you! This image is just one of more than 150 more lithographed images of four-legged beasts that appeared in Audubon's Viviparous Quadrupeds of North America in the 1840s. The Library has made the art from this work available for easy browsing in the NYPL Digital Gallery, so go and check out the other animal portraits. (I'm partial to the prairie dogs myself.)

Lithography was developed in Germany in 1798 by Aloys Senefelder, and this manual printing method uses a flat stone surface, water, and greasy medium to create the image. To learn more about lithography, read Bamber Gascoigne's invaluable reference How to Identify Prints. This friendly guide can help you to sort your engravings from your etchings, and your woodcuts from your wood engravings. And you'll learn about the variety of means of making printed illustrations by hand. Gascoigne cannot teach you about the weather, however; you'll have to count on a groundhog for that.

(This Japanese embroidery pattern is up for grabs at the NYPL Digital Gallery.)

New York City's Museum of Arts and Design has long been interested in ways that traditional crafts turn up in contemporary artists' and designers' work. The museum's current exhibition "Pricked: Extreme Embroidery" gathers the work of artists who employ traditional hand-made embroidery methods to create provocative, humorous, and unexpected works of art.

At 6:30pm on January 31st, needlework will meet narrative in a reading and book arts presentation, co-sponsored by the Center for Book Arts. Artists Jen Bervin (whose works we have at NYPL), Andrea Dezso, and Tamar Stone (we have Stone's works at the Library too) will discuss how they use language and embroidery in their art.

If you take a shine to "Pricked: Extreme Embroidery," you might also want to investigate the catalog from an earlier related exhibition: "Radical Lace and Subversive Knitting."

(The private act of reading in the very public space of Bryant Park in the 1930s, a heyday for private presses. From the NYPL Digital Gallery.)

In 1929, Giovanni Mardersteig, the head of the Italian private press Officina Bodoni, offered this explanation of his press's ideals: "A book consists of five elements: the text, the type, the ink, the paper, and the binding. To create a unity from these five elements in such a way that the result is not a passing product of fashion, but assumes the validity of permanent value--that is our desire." Private presses--those small publishing houses that devoted loving attention to type, design, illustration, and (usually*) adherence to handpress production--blossomed on both sides of the Atlantic in the early twentieth century. Often, as Geoffrey Glaister explains in his Encyclopedia of the Book, the bibliophiles and typophiles who ran private presses published limited editions of books which were then distributed to subscribers or to members of an associated club.

Just such a club here in New York City was the Limited Editions Club, founded by George Macy in 1929 and credited (in Grove Art Online, an excellent resource available at the Library) as one of the most influential private presses to promote the creation of finely illustrated books. Macy recruited the period's greatest artists, designers, and illustrators--including Bruce Rogers and Thomas Hart Benton--to contribute to the Club's luxurious editions of classic literary texts.

For students of the craft of printing and illustration, NYPL's collection of Limited Editions Club publications is a treasure trove (a search for Limited Editions Club in Catnyp brings up over two hundred titles). And to get the big picture concerning the scope of the Limited Editions Club's printing efforts, you can also look at a bibliographical catalogue of the Club's publications, entitled Great and Good Books.

*As Glaister reports, some presses did not limit themselves to small handpress runs and instead sought to deliver finely designed and produced volumes to the masses. One such press was Nonesuch Press, established in England 1923. Nonesuch aimed "to adapt mechanical methods to the production of finely made books which were to be sold at modest cost through normal trade channels." And indeed, Nonesuch had tremendous success with The Week-End Book, a lovely volume in decorated cloth covered boards, endpapers printed with whimsical (and useful) gameboards, and jaunty illustrations throughout.

I admit it—I love Benjamin Franklin. A printer, a founding father of democracies and libraries, a good-natured autodidact who maintained his curiosity to a wise old age, and a fellow charming enough to sway the ladies of France. Really, what’s not to like? And the fact that he labored as one of the country's most renowned early printers of the hand press period more than qualifies him for mention here.

Today is the ingenious Dr. Franklin’s birthday, and in his honor I’d like to suggest that you come to the Library and browse our digital collection of his works. At any branch or research library in the NYPL system, you can browse the Early American Imprints (Series I) database for works written or printed by Franklin. And this database allows you to read, print, and save for yourself the full text images of any books, pamphlets, broadsides and periodicals that strike your fancy.

Another option for Franklinophiles out there is a visit the Grolier Club, which currently has on offer an exhibition called Benjamin Franklin, Writer and Printer. The curators, James N. Green and Peter Stallybrass, are scheduled to give a lecture on their exhibition at 2:00pm on January 23rd. And NYPL holds a copy of the curators’ accompanying book, so you can come long after the lecture and exhibition have passed and still take it all in. There’s plenty of Franklin to go around, as you’ll see, and I’m willing to share. Happy Birthday!