Monday, June 9, 2025

Monday Reads - Weaving Tricks by Susan Gilmurray

    Good morning everybody (or whatever time it is by you)! I hope you had a good weekend. This week I'd like to talk about another weaving book found in my local library. If you're not a fan of weaving, don't worry, I have been browsing the section title by title, so a lot of them were together for obvious reasons. So, while I've got one more weaving book review next, after that I've got a nice little collection of crochet books to review, so hopefully that will be more your speed! But, enough about the future, let's get into this book!

Photo of the cover, which is fairly simple: A white ground with the words "Weaving Tricks" in a large serif font at the top of the book, and in the same font with smaller letters the author's name, Susan Gilmurray, at the bottom. In between and taking up about half of the visual space is a line drawing of a bowline knot, with one end colored orange and the other a taupe sort of brown.
Photo credit Abe Books


    This book was originally published in 1981, and visually, it's very apparent. The visual stylings are very apparently inspired by the 1970s aesthetic, from the gold and burnt orange bowline knot on the cover to the font choices and title headers, all the way to the monochromatic line drawings for illustrations. However, the dated visual aesthetics of the book belie the timeless information inside.

    The book opens with a discussion on setting up a studio space and the furniture choices the author feels will give the best results. I felt it was a little outdated to assume someone engaging in a hobby like this would necessarily have the space (and the income that implies) to have a dedicated studio, even if we use the term "studio" to mean "corner of the living room." Then again, the assumption of this book is that you'll be using a 4-harness floor loom, and if you're capable of buying an enormous piece of furniture that costs north of $1000 just for a hobby, the assumption is probably not that far off. It also contains information on setting up the loom and assorted accessories and accoutrements that such a space would need or at least be desired, which is excellent for people who are getting started out and don't have someone local to ask these types of questions to. These days with the internet you could probably also search up those kinds of information, but on the other hand, with all these "AI assistant" answers being prioritized, books like this may become an increasingly easier source of authoritative information to find. 

    The next chapter is one that I don't find discussed often enough in craft books and which is often shallowly discussed when it is: fiber choice. However, I found this discussion very thorough. It ranged from matching fiber to intended use, best methods for storing, using, and managing yarn in a project, how to mix and match different fibers for intended results, and creative ways to use leftovers to reduce waste. The advice was honestly pretty timeless and still good suggestions for today

    The third chapter discusses how to design and plan a project, which I found very informative as someone who is still a pretty rank beginner myself. It's very focused on treadles, because of the assumption of what kind of loom you will have, so that wasn't much help to me as someone using a backstrap loom, but there was discussion of conversion for inkle looms and card weaving. Plus, the information on planning yarn usage, warping, diagramming (and reading diagrams) of weave structure, and the other aspects of planning were useful to me; I imagine if you're using a pin loom, inkle loom, or other kind of loom, those aspects of the chapter would be useful to you as well. There's also discussion on what width to weave if you're planning to use the cloth as yardage for sewing projects, something that I definitely aim to do later on, as well as tricks for things I didn't really understand, but probably would with more experience, so I assume that means there's at least a few tricks in here that more advanced weavers would be interested in as well. There's definitely an assumption that most of your weaving will be for yardage, so there's much less discussion about tapestry weaving than in some of the other books I've read, so if you're a tapestry weaver, this book might not be a good match for you.

    In the fourth and fifth chapters we finally get to setting up the loom and completing a project. I know there would definitely be people who are annoyed that a book titled "Weaving Tricks" spends the first third of the book not technically discussing weaving, but I think the author was being very thorough and the progression of topics is very logical, at least to me. In order to start weaving you have to have a space to do it, understand the materials you'll be weaving with, and figure out what to weave and how to do it. There's lots of tricks in these chapters that I assume more experienced weavers are probably familiar with, like what to do if you accidentally warped the loom too short for your project or if you crossed some of the warp the wrong way or what to do if one of your warps snaps. If you're someone who has already been weaving for a while, this is probably second nature to you, and so probably this not very helpful, but it was for me as someone who does not have a lot of personal experience nor anyone local to ask questions of. 

    The final chapter focuses on finishing, and this too I was especially grateful for. A lot of the other materials I'd read about weaving up til now kind of assumed you'd already know what to do, or I guess assumes you have someone to ask about it? Anyway, a variety of finishes are discussed and demonstrated very clearly in line drawings. Actually, the illustrations are something I haven't discussed so far, but they really are very well done. The line drawings are very simple, but that simplicity makes it very clear to see what is needed and intended to accomplish what is being depicted. For most of what is being illustrated, I actually think photos would have been less clear, because a photo would have a lot of extraneous information in it that would make it harder to tell what was intended or the order of operations, the orientation of different elements, etc. 

    In all, I think this is a really good reference book for a beginning weaver, possibly even up through intermediate as a way to reference rarely used but helpful techniques. It's probably not as useful to someone advanced in their weaving, but I'm not certain they were the target audience anyway, based on how the book was laid out and illustrated. 

    To find this book near you, either in a library or for sale, check out it's entry on WorldCat.org, a neat little website that lets you search library catalogs and helpfully also links to online and local sellers (where applicable) that list books with that ISBN for sale.  I've found lots of interesting books to borrow via Inter-Library Loan through this site, so if it's not available locally, but you're interested in reading it, bring this info to your local library and see if they can have it sent over. 


Happy Reading, and have a good week!

Thursday, June 5, 2025

Thursday Tool Talk - Crochet Hooks

     I've been talking about crochet a lot on the blog recently, probably because I'm involved in a CAL and that's kept crochet on the front of my mind. I will talk about other crafts in the future, but for now I'm hyper focused on crochet, so I figure I may as well take advantage while I can!

    If you've been crocheting for a while, you've probably noticed that there's many types of crochet hook, but if you're new, you may not have tried enough brands to even know there are other options. I grew up using Susan Bates hooks (inline, non-ergonomic) and am still partial to them, probably due to my familiarity with them. Whatever hook you started with is likely your favorite hook, even if you can't articulate why. Or perhaps you struggled to manage hook and yarn and gave it up after a while, figuring it was too fiddly for you. Could it have been that you weren't using the right hook for you? Or maybe you're just curious about what's out there and would like to know more. Whatever brought you to this article, I hope there's something you learn from it!

Crochet Hook Anatomy

    For this post, I will be comparing two hooks I have from two different brands that are the same size and should, in theory, be identical. However, there are various manufacturing differences that can make a big difference in how comfortable the hook feels in your hand, how easy it is to make stitches (either all stitches, or just certain ones), and how much you enjoy the project you're working on. Because my personal preferences lean this way, both hooks are made of aluminum, are standard (meaning, "not ergonomic"), and are not Tunisian or interchangable hooks. I will discuss those options and have images of what those look like below in another section, but first, let's take a look at our basic hooks:


    As you can see, we'll be looking at two brands, Susan Bates and Boye. Both have been in the business for quite some time with Susan Bates being produced since the 1930s (though now a subsidiary of Spinrite) and Boye has been in production since 1917 (though today a subsidiary of Simplicity). The Susan Bates hook was purchased for me sometime in the 90s or early 2000s, and the Boye was bought sometime after 2015. Both are aluminum, and both are anodized and dyed to be color-coded for size. Obviously, the 2 brands use a different color coding system, and if my quick glance at Google is anything to go by, they have since switch to different color coding. You can see from the stamp that the Bates hook is one of the ones made after they stopped manufacturing in the US (couldn't find the exact date, but sometime after 1991, possibly as late as 1997) and while I have met people who swear the US-made hooks were better, having tried both, I actually really prefer the Mexican-manufactured version. I don't have any to hand for comparison, but the shape of the heads differ slightly, and I like the ones I learned on. Go figure!


    Already you can see one difference between the brands; there's no regulations requiring hooks to be consistently sized, and if you're having trouble getting gauge on a pattern, this could be one reason why. The Susan Bates hook is labeled "US D 3" which measures 3.25 millimeters, but the "D/3" of the Boye hook measures 3.125 millimeters. It's not a huge difference, and for some people it may not create a noticeable difference at all, but if there's a fraction of a stitch difference, that can add up in something large like a sweater or a blanket and produce surprising results. This is why I prefer when patterns include the metric measurement alongside the letter/number size, because different brands or even the same brand in different countries; for example, there is a measurement commonly used in China that gets translated as "inch" but is closer to 1.5 imperial inches. The metric is standardized internationally in a way that no other measurement is, which can help clear up any doubt about what actual size the pattern is asking for.


    Another difference between the two brands is the overall size, and the positioning of the thumb rest. Which of these arrangements (or one of the many other sizes and proportions) is best for you is a personal preference, so before going all in on a multi-size set, which can easily cost $30 on the low end and often quite a bit more, try out a few brands. You might find that the ones you started with aren't the ones best suited to your style of crochet. When I was learning to crochet (back in the previous century), I only had access to these two brands, and I had (and still have) a clear preference. The Boye hook is longer over all, with equal space before the thumb rest and behind it; the Bates hook is shorter overall, and with the thumb rest positioned much further forward on the hook proportionately than on the Boye. My preference is for the Bates as it fits better in my hand and I don't need the extra space in front of the thumb rest. You can also see that the shape of the hook itself is different between the two brands, and I'll be zooming in on both of them to compare in a bit. First, we need to discuss the names for the different parts of the hook so we can compare and contrast more easily.


    Every crochet hook will contain these essential parts, as well as the portion of the hook behind the thumb rest, which is most often called the handle, but I have heard it called things like "the hand rest" as well, especially on hooks that have some kind of ergonomic adaptation.


    This close-up really shows that there are substantial differences between the formation of the two hooks. The Susan Bates hooks perfected their shaping in 1944, terming it "in-line," and that is still the term used today for this type of head and throat shaping. I've seen it claimed that they patented it, but I haven't been able to find any evidence of that; the patent would have expired by now in any case. Boye, however, definitely did patent their shaping, which they called "tapering" in 1949, and this shaping is still called that today, though this patent has since expired. Because of this, other crochet hook manufacturers are free to use either shaping, should they wish to, and most use one or the other. Anecdotally, it seems like tapered heads have won the day, though this could be regional.

Inline Vs Tapered


    These close up images make it clear that on the business end, the profile of the Bates hook is much flatter overall than the Boye hook. Which profile makes it easier to catch and manipulate the yarn is a matter of personal preference, of course, but it partially depends on the methods being employed, as well. Stitches requiring multiple wraps will be easier to keep an even tension on the Bates hook, because the diameter of the hook does not reduce as drastically; on the Boye hook, it is easy to over-tighten the loops waiting to be worked, causing difficulty in completing the stitch. On the other hand, tight stitches are easier to get into with a tapered hook like Boye, because the narrower diameter is easier to slide between tight strands than the relatively wide Bates hook.


    The backs of the hooks show significant difference as well. You can see on the in-line hook, the width of the hook is more or less constant; the chunk taken out on the front does impact the diameter of the hook, but markedly less than on a tapered hook. Anecdotally, I have heard from multiple people and experienced it myself that getting an even tension is easier on an in-line hook because the sizing portion of the hook is largely uniform. On a tapered hook making sure to size the yarn on the barrel is critical to avoid over tightening the stitches, while on an in-line hook, sizing the yarn on the throat is undesirable, but not disastrous. 

    One thing both of these hooks have in common, however, is that they lack any kind of ergonomic adaptation at all, aside from the thumb rest, though at this point, that is considered standard, too. For many people, the narrow diameter of the hook can cause pain or be ungrippable for a variety of reasons. In the not so distant past, this led to people being unable to pursue the craft, but luckily the last 30-40 years have seen an explosion of different solutions to this issue, with different adaptations intended to solve different problems.

Ergonomic or Not?

    A hook is not ergonomic if the diameter of the hook is uniform, or nearly so. Some steel hooks meant for working very fine thread, even down to sewing thread weight, will taper up to a "normal" diameter past the thumb rest, but for most of the hooks in more common use today, the diameter of the barrel, thumb rest, and beyond will be static. These tend to be the most economic; standard hooks range in price from about $2-$4 each, depending on material, brand, and location. Some larger hooks may be proportionately more expensive, but overall, standard hooks are the cheapest and most economically accessible of all the types of crochet hook. If you have no issues using them, they tend to be easy to find, available in most big box stores, whether craft oriented or not, and are also generally available at smaller craft-focused stores as well, such as yarn stores, quilting stores, etc. Many locations around the world also have standard crochet hooks available at discount stores, like variety stores (i.e. dollar stores/100 Yen shops/pound shops/pesorama/etc), thrift shops, and other places where you might not initially think they'd be available. They're a great entryway into the craft, and often more than suitable for children's use as well as adult's. 
    But what if they don't work for you? If they cause pain, are hard to hold, or otherwise are troublesome in some way, there are other options. Because of the different reasons behind needing or desiring an ergonomic hook, the forms they can take vary, and some will be better suited than others to an individual's needs. I wish I had less expensive advice than "try various hooks until one feels right" but unfortunately, aside from knowing yourself, that really is the only answer at this time. If you have a good physical- or occupational therapist, they might be able to recommend options based on their experience, but to my knowledge there are no official recommendations for specific diagnosis or anything like that. 
    Beware of cheaper tools or sets sold on Amazon or other aggregate marketplaces like Temu or AliExpress; any prices that seem too good to be true likely are. On these sites counterfeits abound, and the lower price usually coincides with lower quality that can make the tools unusable. I have personally heard of or experienced issues like sharp metal burrs present on on the hook that cut yarn and skin alike; some chemical used in the manufacturing causing rashes; non-anodized metal that rusts quickly due to moisture in the air; plastics made poorly leading them to be brittle and/or have pitting, chipping, burrs, or flashing; rubberized or silicone handles that were not cured right, leading to melting, sweating, oozing, or other undesirable texture changes. On occasion, these tools can be a great deal, but it's a gamble. Even if the item you receive isn't damaged or harmful, in many cases the lower quality of the tool leads to it wearing out faster than a known and trusted brand, needing replacing faster and in the end, not really saving you money at all. As always on the internet, buyer beware.

    So, if you know what to look out for, but aren't too sure what you might want, what are the options?


Add-On Handles

    If you already have a set of standard hooks, and want to try adapting them, there are multiple products on the market to do so. 

Susan Bates Cushion Grips add-on handles. There are two sizes shown, one in blue and black and the other green and black. They are shown on what looks to be size H and size D crochet hooks, respectively.
Susan Bates Cushion Grips. Photo credit Susan Bates, via Coats and Clark

    In general, sponge or other fabric-coated grips are best if you'd like to transfer grips from one hook to another. Rubber or silicone grips are difficult to impossible to remove once placed on a hook, so you would need to purchase one for each hook you plan to use. Sponge or fabric-coated silicone tend to release their grip on the hook more easily, should you wish to purchase a limited number and use them on multiple hooks. Pricing ranges from $2-$15 depending on size, quality, and materials. Some people also use ace bandages or similar materials, polymer clay, mix-at-home silicones or resins to build their own, should these pre-made styles be unavailable, out of price range, or unsuitable for one or another reason. 

Rubber Handles

A set of Clover Amour crochet hooks, with each handle a different bright color to indicate size. The rubber covers the thumb rest. 
Clover Amour hooks with rubber handles. Photo credit Clover USA
 
Prym branded hooks with rubberized handle. These hooks do not feature a thumb rest, creating a cylindrical handle.
Prym branded hooks with rubber handles. Note the lack of thumb rest & different color coding system as compared to the Clover hooks. Photo credit to Prym Consumer USA


    Another option is rubber handled hooks. Clover Amour has rubber on the thumb rest, but some other brands can leave the thumb rest un-rubberized or leave out the thumb rest entirely for a fully round handle. Typically, the hook above the handle will be metal, usually aluminum to keep weight down, but plastic, wood, and alternative materials like carbon fiber or precious metals have been available in different times and places. These are usually preferred by people who have difficulty with grip, as the rubber is easier to hold without slipping when the hook is made of a slick material like metal or polished wood, and the rubber adds a certain amount of cushioning. Rubberized handles are typically available sold as both individual hooks or in sets. Often brands will use different colors in the handle as a marker of size, though others prefer a sleeker look with all handles being the same color and the size information being stamped or embossed somewhere on the hook instead. Individual hooks range in price from about $4 to about $12, though location and quality will have an impact on that. 

Partially Rubberized Handle

    To my knowledge, only Prym is offering this style of hook, but those who love them swear by them.

A Prym branded hook, fully plastic with a partially rubberized handle. The rubber portion is yellow, part of their size color coding, while the rest of the hook is off-white, which is standard for the brand.
Photo credit to Prym Consumer USA

    The all-plastic construction makes them lighter weight than metal hooks with a rubber handle, and those who love these hooks say that the partial rubberization helps them grip the hook better than if it was solely plastic or solely rubber. These hooks are between $6 and $12 depending on size and location, making them a bit pricey compared to other brands, but from what I have heard, the quality is worth it. 

Unusually Shaped Handle

    Some brands offer crochet hooks with handles of unusual shape. Depending on the user, these shapes can be better for the health of the hands, wrists, and arms.

Furls brand crochet hooks, in their blush color way, showing the unique obloid shape.
Furls brand hooks in their Blush colorway; Photo credit Furls Fiber Arts

Set of Addi Swings crochet hooks, showing their signature "swing" shape (like an elongated s, a serpentine kind of shape) The handles are color coded for size.
Set of Addi Swings crochet hooks; Photo credit Herrschners

    These are just two of the most common shapes and brands available, and their uniqueness tends to raise the price as well. Hooks in this category are often above $20, though you can sometimes find deals in the  $15-$20 range. 
    This category also includes pre-fixed handles like the ones made of polymer clay you can find on Etsy or the silicone add-on handles you can buy on Etsy or from personal websites. Some of these are better quality than others and since they are personal brands, there is no testing or guarantee of what "ergonomic" means. If you find a brand that you like, then more power to you, but a lot of these "off" brands are largely fueled by social media hype, rather than having a solid product. As previously stated, when purchasing sight unseen on the internet, buyer beware. 

    Now that we've discussed the impacts of shapes of the hooks, what about the material the hook is made of?

Plastic Vs Wood vs Metal

    The three predominant types of materials for crochet hooks are wood, metal, and plastic, and all have their proponents. Metal is the more traditional material, though before the industrial revolution wood, ivory, and bone were all more prevalent. The shape of the tool itself differed greatly throughout history as well, but that's a fascinating diversion for another post. For now, I'll be talking about the 3 most common modern materials.

Plastic


A set of 4 pastel plastic crochet hooks. The plastic itself is matte and the hooks are turned on their side to you can see them in profile.
Boye Jumbo Plastic hooks; photo credit Herrschners


    Plastic hooks come in many varieties, and are often the beginner's intro the craft. Plastic hooks are typically cheaper than any other material, and are often fairly attractive in and of themselves.

9 crochet hooks make of translucent acrylic in rainbow colors, some saturated, some pastel, branding from a size G on the small end to a P on the large end. Air bubbles are visible in the acrylic, and the light shining through them could be described as pretty, were you taken by that sort of thing.
Susan Bates Crystallites; photo credit Michaels.com


    These are very easy to find in sets for a low price, typically below $20 for a full set or even below $10 for a set of 5 or so sizes. Depending on the size of the hook, single packages range from $1-5. It is very difficult to find plastic hooks in sizes below G, and I have personally not seen plastic hooks below D. This is because plastic at that level of thinness is very brittle, and would snap easily. However, if you love working with chunky and roving style yarns, plastic hooks are probably your jam. They're the lightest weight for the size, glide smoothly when maintained well, and the low conductivity of the plastic means they rarely feel hot or cold to the touch depending on room temperature. If you find you have sweaty hands after working for a while or the thought of picking up a cold hook on a chilly winter's day sounds like a nightmare, plastic hooks might be what you're looking for. 

Clear acrylic hooks impregnated with purple glitter. These two are in profile to show the inline shaping of the hooks. The sizes are not given, but they all seem to be above G, with the largest on the left.
Hobbii Glitter hooks; photo credit hobbii.com

    The main drawback of these hooks is that they tend to be brittle, especially as they age. Falling on a hard floor can cause chips, some of which may be sharp. Thinner hooks may be prone to snapping, especially around the head and throat; larger hooks tend to be thick enough to avoid this problem.  However, under typical use, these tend not to be issues the crafter will experience often, and they can last a very long time, decades in many cases. Additionally, if you crochet tightly and use synthetic yarns like acrylic or nylon, these needles can produce a squeaking sound as you work which many people find unpleasant. Certain synthetic fibers, typically ones made of the same kind of plastic as the hook, also tend to drag more and cause static as you work, though the extent to which this is a problem depends partially on temperature, ambient humidity, and personal yarn management style. For some people, especially those who typically work with natural fibers, this is not much of an issue, and for others, it's a deal breaker. Whichever it is for you, of course, is personal preference.

Wood

     For the sake of this post, I am considering bamboo (both press board composite and the much rarer solid bamboo) to be equivalent to solid or laminated traditional woods like beech, oak, and pine. In my personal experience, they wear the same and have nearly identical properties, so while bamboo is technically a grass, it performs very similarly to more traditional wood sources.

A bamboo hook of indeterminate size, zoomed in to show the texture of the bamboo wood grain.
Clover brand bamboo hook; photo credit Michaels.com

    If you want a wood feel, but prefer a lighter tool, bamboo is a great option. Bamboo is usually lighter than traditional woods for the size, and are decently affordable, too, at around $2-5 per hook. 

A laminated birch crochet hook with an attachment on the bottom so that it can be turned into a Tunisian crochet hook with a cord similar to circular knitting needles. The wood of the hook is natural colored, a warm sandy color.
Sunstruck Interchangable crochet hook; photo credit crochet.com



    The main down side to bamboo and wooden hooks is that if  it is not well laminated, it can split along the join lines under stress; even solid wood or bamboo can break in this way if the orientation of the natural fibers is in line with the stress being put on it. Generally, this is not a likely circumstance, because the hooks are made with the natural fibers or lamination lines running the vertical length of the hook, and it is unlikely that the hook will be receiving stress in the right directions to split it, but being loose in a bag or dropped on a hard floor at just the right angle can cause them to split. Even when well polished, they also don't tolerate being wet for long periods of time, which can soften the wood and lead to warping and eventually rotting. If you live somewhere quite humid and the hook(s) are stored somewhere not climate controlled, you may find that they warp over time and begin to mold. However, most people do not keep their crochet tools in a damp shed, so this is rarely an issue. 

Caspian Crochet hook; photo credit crochet.com

    Wood also tends to have a warm feel in the hand, which people who are sensitive to cold appreciate. They also tend to be somewhat less slick than plastic tools (though certain plastics can be grippier than even wood) and much less slick than metal tools, which can be a positive if you struggle with slicker tools, especially with slick fibers like silk and rayon. Another positive is that if you prefer a natural look to the wood, you have plenty of options, but there are fun dyed options like the Caspian hook pictures above. Also, some brands offer exotic woods and/or beautiful or otherwise interesting finials at the bottom of the hook, like the one pictured below from Revolution Fibers. Expect to pay more for these artistic flourishes, however, typically $15 or more per hook. 

A dark wood crochet hook with a ribbed section and tapered cone finial at the end of the hook. The sizing and brand information is laser etched on the hook.
Artisan Rosewood hook; photo credit RevolutionFibers.com

    As with plastic hooks, the smaller sizes tend to be brittle, so hooks under G are rarely offered, and I have never seen a wooden hook in a size smaller than E. Also, unlike plastic hooks, the range of sizes offered is also usually contracted on the large size as well, as heavier wood can be difficult to work with and somewhat cost prohibitive, too.

Metal

    While historically metal crochet hooks were either iron or steel, these days, the predominant metal for crochet hooks is aluminum, except for the smallest of hooks, for use with threads, which are are still steel to this day. Nickel alloys are also becoming somewhat popular as well. Aluminum hooks are the lightest for size, and larger sizes are sometimes made hollow to cut down on weight as well. These hooks tend to be the toughest and their slickness is perfect for using with yarns that are difficult or "sticky" like brushed mohair. The first section of this post was all about standard metal hooks, so I won't linger too long on them, but they're the first hooks I received in childhood and are the ones I'm still using today for a reason!

What about Tunisian Crochet?

    If you're a fan of Tunisian crochet, or think you might become one, an additional question to consider is which type(s) of Tunisian hooks work best for you. Which type of hook works best for you might be the same in all circumstances, or might depend on the project. 

Straight needles

A solid wooden crochet hook, longer than standard, and with a wooden stopper on the end. The wood is a lighter wood, perhaps pine. The head is in line
Chiaogoo Straight Tunisian hook; photo credit PurlSoho


    These resemble modified knitting needles, and historically they often were. For smaller pieces, or larger pieces worked in blocks, straight needles do the job well, though for larger projects, like with straight knitting needles, the weight of the project hanging from it makes the hook tiring to hold and makes tension more difficult to maintain, especially with chunkier yarns. However, their simplicity is appealing and it offers a form that visually resembles a standard crochet hook well, which is also appealing to people. These are easiest to find in wood or bamboo, though I have also been able to find them in metal and rarely in plastic. Of the 3 options, straights are the hardest to find in any material and at any price point. Straight hooks can also be limiting, as they can only be used for flat worked items (items that you work back and forth). If you plan to work Tunisian crochet in the round, you'll need to look at one of the following options. Straight Tunisian hooks do tend to be affordable, in the $3-6 per hook range, though.

Double-Ended Tunisian Hooks

A bamboo crochet hook that has a head on both ends of the shaft. Both heads face the same direction.
Bamboo double-ended crochet hook; photo credit crochet.com

    This is the traditional tool for working Tunisian crochet in the round, and for many people, what ain't broke ain't worth fixing. Similarly priced to straights, they are quite affordable, and easily available in bamboo, metal and wood. I was unable to find any in plastic, but they may be available outside of my area, I don't know. They require a slightly different technique to working flat, in that you work a partial round at a time, rather than a full round as you typically would working flat, though how long that partial round can be is dictated by how long the hook is. Expect to pay more for longer hooks, but there is no need to purchase them if you are comfortable working more partial passes; many beautiful things have been created with double ended hooks that are no bigger than a standard hook.

Interchangeable Hooks

A red and green laminated birch interchangeable crochet hook. The bottom quarter of the hook is a metal bushing used to connect the cord.
Interchangeable hook in the colorway Radiant; photo credit crochet.com



    These are by far the most popular Tunisian hook option these days, and it's not hard to see why. They are the most versatile of hooks, able to be used like a standard hook for non-Tunisian projects and for either flat work or full-length round work when the appropriate cords are attached. Multiple makers offer these for a wide range of prices, from an affordable $5-10 per hook (excluding cables and related accessories) all the way to $20+ for a single hook from high end artisans. An additional benefit of the cable is that for very long or wide projects, the weight of the project does not hang solely from the hook; the cables are flexible, and allow the weight of the project to be held up by your lap, chair arms, or table. 

Which is best for me?

    Of course, this is a personal question which has no general answer, but there's several things you can consider when shopping for a new crochet hook, especially if you're new to the craft:
  • Can I try before I buy? Some local yarn shops will let you try out a hook before purchase, especially if you're buying some yarn at the same time, but definitely do not take anything out of the packaging (hook or yarn) without asking, and be understanding if they say no. It can be difficult to get things back in the packaging sometimes, and if you decide not to buy it, they may be stuck with a now un-sellable product. If the local yarn shop is not possible for try outs for one reason or another, try looking for crochet groups and guilds in your area. They often meet at libraries, community centers, or other semi-public areas like coffee shops. If you introduce yourself and say you want to get into the craft people tend to be very supportive and this group would be a good resource in any event, in most cases. They would likely also have good advice on where to find hooks and yarn economically, and would likely allow you to try out some of their tools.
  • What fibers do I like using most? If you're mostly someone who uses acrylic to make afghans, a plastic hook might not be for you, but if you love using chunky yarn they might be perfect. If you love fuzzy brushed mohair sweaters, a metal hook might be your jam, but maybe not if you love working with bamboo rayon to make lacy, summery tops. If you love making crochet doilies from thread weight cotton, steel hooks are probably your only option, so the question there is whether you need a standard or ergonomic hook rather than what material to buy. How you intend to use a tool is just as important to selection as anything else. 
  • What is available to me? Whether or not your ideal tool is, for example, able to imported, has a prohibitive tax on it, is locally available vs needing to pay shipping costs, is part of a set or available singly, is in a price range that matches your budget, etc. is as important to consider as any other. There are many beautiful artisanal tools available, especially through places like Etsy, but if they aren't available to you for one reason or another, then it doesn't matter how enticing they may be,
  • What qualities appeal to me? Do you love the look feel of natural wood? Do you want something shiny or glittery? Does the weight of the tool matter to you? Do you want a matching set, a color coded set, or an eclectic mix of hooks in your collection? Are you interested in interchangeable hooks and do you feel comfortable using them as standard hooks with the cord unattached?
  • What do I need for comfort and safety? Do you have any conditions or preferences that dictate needs? Does the size of your hand make longer or shorter hooks more comfortable? What about weight, is something light going to be hard to feel in your hand, or would too much heft tire your hands quickly? Is it harder to hold things with a smaller diameter or a larger one? Do you need a material with a softer grip to prevent injury, or would a harder item be less taxing to hold? Do you have a tic or tremor that means a slick material might make you lose stitches or insert the hook in the wrong place and so you'd benefit from wood or a matte plastic? Or maybe you don't have a ton of hand and arm strength and a slicker hook will help you make more stitches with the time you have for crafting? Does your need for a specific type of ergonomic hook mean that other preferences about material, length, and head type are kind of moot? In my opinion, this is the most important question to consider when shopping for a hook, and is the one you should start with, in most cases.

Conclusion

    I hope this (much lengthier than I set out to write!) post will help you make informed decisions about hook purchases going forward. Was there anything I left out? Is there something I should know about? Let me know in the comments or reach out to me by email and I'll be more than happy to update the post. Happy crafting!

Sources

Tuesday, June 3, 2025

Tuesday Tip - the Chain Stitch (Crochet)

     This is a topic I've discussed on this blog before, but the quality of that one was not as high as I'd like it to be, so I'm trying again. If you found the video at the top of that post helpful, you can find it here, but as I don't have the ability to edit videos currently, I won't be updating that aspect just yet.

What is the Chain Stitch?

    The chain stitch is the fundamental stitch in crochet. Like casting on in knitting, this is how all crochet starts, either as a foundation chain, as a slip stitch ring for working in the round, or as the first "standing stitch" at the beginning of a foundation stitch of another type (such as foundation single crochet, foundation double crochet, etc., a topic I will be discussing in another post) or as the first standing stitch in magic loop. It's also used as the first stitch of each row, the first stitch of each discontinuous round, and to create lacy openings in the work. The crochet chain is simply indispensable in crochet.

So how do you do it?

    This tutorial is going to look silly in it's shortness, but because it's such a foundational stitch, it's really quite quick and easy to do. Parents who crochet have been known to plunk down their kindergartners with a crochet hook and a skein of yarn, which then produces miles and miles of chain. Kids truly find the process fascinating and enjoyable; I would know, I was one of them! Kids find all kind of uses for their chain creations, too. I remember using mine as friendship bracelets, shoelaces, Barbie scarves, string for all sorts of other things I wanted to tie or weave or otherwise create. Of course, once you are past that point, you then have your foot in the door for crochet generally, and can move on to other projects.

    To start, you will need some yarn and a suitable hook. Most people start with worsted weight or aran size yarn, also called size 4 or 10 ply; the hook to use with this yarn will depend on individual factors like personal tension, but in general a hook somewhere in the range of G-J (4 mm - 5.5 mm) will work.  In my photo, you will see that I've left the yarn in the skein and just wound off a yard or so. That's because I'm just using this yarn for the tutorial and putting it right back. Were I to be using this for an actual project, I would wind it into a ball first, and recommend you do, too.

    To start, you'll need to make a slip knot. There are, to my knowledge, at least 4 different ways of doing this, and each person feels that their way is the most obvious and easy to accomplish, so I won't provide a tutorial on that, but there are many tutorials both, video and photo, which explain how to do it if you don't know how. It's likely you do, but perhaps not by that name; I first learned it as "the knot parents use to tie balloons to a kid's wrist so it won't fly away," and it has many other everyday uses as well, so it's a good knot to know how to tie in any event. When using it as a start for crochet, you will want to leave enough tail behind the slip knot that you can easily weave in the tail to hide it on your finished object. Generally, the advise is to leave a tail 6 inches long, but certain situations will require more or less. When in doubt, 6 inches will definitely do.

    Once you have your slip knot, you'll arrange it on the needle, and pull it tight to the shaft, which you will be using to help you get consistent tension. Place the hook in your dominant hand, and use your non-dominant hand to guide and tension the yarn. Each crocheter tensions the yarn in their own way, but wrapping the yarn around or between one or more fingers is common, as is wrapping the yarn around your wrist, using a tool like a yarn guide ring or tension pin in your shirt, and some even tension the yarn by draping it around the back of their neck. People have multiple ways of holding the hook as well; the most common two are holding the hook like either a knife or a pencil, but any method that works for you is fine. Because of the way I learned to crochet, the following photos will show me holding the hook in the "knife" hold and with the yarn tensioned around just my left index finger; if you hold your hook and/or yarn differently, the positions of your hands at each step will likely look different, but as long as you can translate the motions into ones that work for your setup, the stitch will come out the same.

    With the knot on the hook and the open part of the hook facing you, wrap the yarn around the hook from back to front. Using a combination of the hook and tension from your non-dominant hand to hold the yarn in place, pull it back and pull it through the slip knot. At least at first, you may find it helpful to use the fingers of your dominant hand to push the knot forward and/or manipulate the yarn through the loop. Below is 4 images showing the path the yarn will take through the loop towards becoming a new stitch:

Yarn around left index finger, about to be pulled through the stitch.
About to grab the yarn

Yarn captured by the hook, ready to be pulled through the loop.
Yarn grabbed, soon to make a new stitch

Yarn almost through the loop on the hook; the hook has been rotated in order to keep a hold of the yarn.
Yarn nearly through loop; note the rotation of the hook to maintain the grip on the yarn. The degree to which each crocheter does this is personal, and you may rotate your hook more or less than me. Any amount is fine as long as you're controlling the yarn comfortably.

Stitch completed, but hook not yet back to starting position.
Stitch completed, but hook not yet back to starting position. After this, the hook moves back to the position in image one and the process begins again.

    Once you have pulled the yarn through the slipknot, you will have a new loop on the hook and the slip knot will now be below the hook. This is the first chain stitch. Repeat this process until you have the number of chain stitches required. Then move on to the next step in your pattern.

    Take a look at those Vs. When you are instructed to work into the chain, you are being instructed to hold the chain with these Vs facing you, and place your hook into the center of it, barring other, more specific instructions. Whether or not to involve the bump on the back of the chain is more or less a personal choice. Some people like the look of involving just the top loop of the chain, others like the look better if you go under the chain and the bump in the back, too. Try both and see which you like better.

    If you are aiming to create a stand-alone string of chains, you will repeat these steps until the length of chain required is reached. Then, cut the yarn 6 inches away from the last stitch, and pull the cut end through the last loop. This will remain stable and not unravel, so if you are okay with the loose ends for your purpose, then you are done! However, if you would like, you can also use a yarn needle and sew the loose ends in and out of the chains in order to hide it.

I hope that was able to help someone. Happy crafting!

Monday, June 2, 2025

Monday Reads - The Weaver's Workbook by Hilary Chetwynd

    Happy Monday! I hope you had a fantastic weekend. This week I'm reviewing another book I found browsing at my public library. This particular branch's selection skews to older books, but in crafting, that's usually not a bad thing. In some cases, older books actually have *more* information, as they assumed you were more familiar with the craft as compared to the modern assumed audience, and so they tend to get down into the nitty-gritty a bit more, whereas more modern books stay in thee "adventurous beginner" lane. This book is definitely of the former type, and that's one of the reasons I love it.

Cover of the book "The Weaver's Workbook" by Hilary Chetwynd. It shows two drawings of a close up of woven cloth and two images of weave structure charted out. The cover is framed be a texture that resembles woven fabric.
Photo credit Alibris

 

    This book is very thorough in walking you through setting up your loom, understanding weave structure, and learning to read pattern charts. It is also features an fairly large collection of weave patterns, which is something I intend to return to this book for. It is also full of really nice illustrations; there's hardly a single page without an illustration on it, and the margins are full of really illuminating illustrations of whatever is being discussed. Whole pages are dedicated to the more intricate weave patterns and their charts, and the text is written in a very clear and easy to understand way, so even if you're fairly new to the craft (as I am) there will still be plenty for you to glean and even more that you will likely highlight to return to later.

    The one downside is that this book is aimed at floor loom users, mostly 4-8 shaft looms, so if you have a different loom, you will have to figure out how to use these charts for your set up and some of them may not be possible on a different loom set up. 

    Altogether, I thought it was a really great book, and I'd love to have it for my home reference shelf one day. To find this book near you, either in a library or for sale, check out it's entry on WorldCat.org, a neat little website that lets you search library catalogs and helpfully also links to online and local sellers (where applicable) that list books with that ISBN for sale.  I've found lots of interesting books to borrow via Inter-Library Loan through this site, so if it's not available locally, but you're interested in reading it, bring this info to your local library and see if they can have it sent over. 


Happy Reading, and have a good week!


Friday, May 30, 2025

Friday Project Roundup - May 29, 2025

    It's been a busy week around here as school is coming to a close and these's school event after school even for the kids. I haven't had much time for crafting, and much of my crafting time was devoted to wool laundry for putting away the winter clothes. Temperatures have been pretty consistently above the 50s lately, so I'm washing all the wool for the end of the season and packing them away in their plastic bags to wait out the moth months. I also took the opportunity to wash the pouches to prepare them for lining. I also need to set up a warp for the strap to the little bag for my kid, but I need to stop at the hardware store for a few things to make it easier first, and I just haven't had the time. Next week I also might starting working on the pants I've been meaning to repair for my spouse. But that's next week. Here's what I got done this week:

New Pattern!

    I released a new design for the first time in an embarassing long number of years this week. I've actually had this (and a few others!) kicking around in my drafts folder at like 80% done for a couple of years, but it just took me a while to build up the confidence and just get it all done!

A photo of a pink and white hat, with the color stripes arranged in a chevron. There's also a child's peg doll and a crocheted heart in the frame as stylistic additions.

    I'm calling it the Begonias Hat and it's available on Ravelry. It was originally made for one of my children, one who is very femme, so the original colors were pink and white, but I've done mock ups in several colors and it works really well with a variety of shades, in both high and low contrast. The slip stitch pattern used to create the chevrons is easy to memorize and, at least for me, fun to do. It's worked from the brim up and uses just 200 yards of lace weight yarn, and less than that if you're using a larger diameter yarn. I hope you enjoy!

Spinning

    I started on the red portion of my "red, green, and in between" project. I got all the punis carded and rolled for all 3 colors a while back, but I only recently got started on spinning it up.


    At this point, I'm planning on spinning the red, then the green, then the blend. Based on my previous experiments, though the green especially looks fairly distinct in the blend now, I think that quality will be muted pretty significantly in the actual spin, because I did blend them fairly well. I did about 4 passes each on the carders per puni, so what you see on the outside of the puni is no promise of what lies underneath at that location. I'm pretty excited to see it spin up, even though I know the end result likely won't be very visually exciting - just a heathered warm brown. But it will be fun to watch it develop!


A smallish copp on a thin spindle, made up of the red fibers. The completed single shows variation from a bright candy red to more of an Auburn color.

    I started with the red, and the layering on the copp makes it seem like there might be some slight variegation in the final skein. The extent to which this happens depends largely on how many of these longer sections of disparate color are matched with each other and which are barber poled instead. I won't know until the end, so that's a fun surprise to look forward to.
    I also noticed that it seems like the color was mostly taken up by the longer, coarser fibers and the finer, shorter fibers have more of the natural color peeking through. I wonder if that has anything to do with the qualities of the fiber itself, or if it has more to do with how it was laying in the dye pan? It's something I intend to keep an eye out for next time I dye these fibers. If it is related to the qualities of the fiber, I'm very curious to research why that might be.

Knitting

    Finally getting started on the socks I spun all that shifting-color yarn for!


    The pattern is Södera Socks by Vilma Vuori, and calls for a gauge of 7.5 stitches per inch, which I think is basically the bare minimum for socks, but I don't think really displays the lace to it's full potential. Obviously looking at it pre-blocked in this swatch won't give you the proper idea, but I have been stretching it out as I worked on it, seeing how I liked the interplay of the stitches, and at 7.5 stitches per inch, it's just really not hitting for me. I'll definitely keep that for the foot of the sock because I'm not trying to wear them out instantly, but I'm trying some larger needles to see what size I feel shows off the lace best so I can use that for the leg of the sock (you know, the part anyone will see anyway) and that portion will be exposed to much, much less friction, so if the gauge isn't as durable as it could be, that's probably not a huge loss. 
    Once I've got that sorted, I'll start on them properly, probably next week, and then I have plenty of time to work on them because I won't really need them until September or so. It gets so hot and muggy in the summers, I'm usually wearing slides the whole time. Leaves a funny suntan on my feet, too. 


    Also added 3 new yarns, all of them green, to the scrap blanket this week. That brings this strip up to a total of 48 inches long. That's more than half, and I'm more than halfway done with the total of strips, too. I've been working on this blanket since 2021, but now that I'm at 10 out of 13 strips, I'm starting to have to seriously consider how I'm going to finish the edges. Do I want all one color, and if so, what? White or black are obvious choices that "go with everything" but that sounds so boring. I actually might just continue in scrap yarns for the edges too, because it feels like that's the only way to properly match the energy this blanket is already giving.  I have time to think it over, but it's seeming like there's a possibility it could be finished in time for this winter. That would be nice, as the quilts are getting pretty heavy use (both of them already have new areas in need of repair because of course after all that sustained effort I don't get any kind of reprieve, let's be real here) and having something to swap out for them so they can be treated a little more lightly would be nice. Of course, that also means I have to immediately get started on my next scrap blanket once this one is finished, and I'm genuinely not sure what I'm going to do for it. I've been working on this for literally 6 years, because I actually started this blanket in 2020, frogged it because I didn't like how it was turning out, and started again in 2021. I know I definitely want to work on it in pieces again, that aspect has been very satisfying, but I don't know if I want to continue the theme of sampler strips, work in more quilterly blocks, maybe do a more intentional, coherent theme? I definitely still have months at a minimum to think about it, but I'm kind of a planner and not having a plan at this point is kind of giving me hives. I'll probably come to a decision about it soon, but as always, I reserve my right to change my mind if it's not working out!