Book Review, The Fine Art of Crochet by Gwen Blakley Kinsler

Most crochet books in my collection are pattern books or stitch guides. Today I'm reviewing a different kind of volume, more museum exhibition catalog than how-to. It's The Fine Art of Crochet: Innovative Works from 20 Contemporary Artists by Gwen Blakley Kinsler. (I received a review copy from AuthorHouse™; as always in my reviews, what follows is an honest assessment. Photos are used with permission.)

I knew I would like this book as soon as I saw that the introductory quote is from Bruce Hoffman, Director of the Snyderman-Works Gallery in Philadelphia. "Crocheting, like felting, knitting and weaving, is finding a new wonderful voice in contemporary art making, impressively breaking previous stereotyped borders," he says. (Hoffman knows what he's talking about. The gallery is hosting the 9th International Fiber Biennial right now, through April 26, 2014. I have to get down there before it closes!) Click here for the gallery. 

Gwen Kinsler's crochet credentials are impeccable. The "Crochetqueen" is founder of the Crochet Guild of America. Just think about what that means. Those of us who are members may take the Guild's existence and services for granted, but without Gwen, it wouldn't exist. CGOA has been instrumental in elevating crochet to its deserved position in the world of fiber arts. That alone would guarantee Gwen a solid place in crochet history, as would her design work, but she's not one to rest on her laurels. Her passion for contemporary art and the intrinsic worth of crochet led her to dream of curating a book showcasing what we can call "art crochet." The Fine Art of Crochet realizes that ambition.

What can you expect to find in this inspiring, lavishly illustrated book? First is some excellent introductory material about the origins of crochet and its modern evolution/revolution. The heart of the book features twenty artists, some of whom have been practicing their art and craft for decades, others who have picked up the hook more recently. There is a biography of each artist, nice big photos of some of their works, and quotes in which they explain what motivates them and what their goals are.

Contemporary art can be beautiful, inspiring, unsettling, or all three, the perfect vehicle for stimulating dialogue. The items in this book are no exception. Reading what the artist intended is often educational in this regard. For example, the throw-rug sized circles in Carol Hummel's "Aspen Invasion," an installation in Steamboat Springs, CO, struck me as a fun and colorful path from one hot tub to the next. I could picture vacationers sprinting between properties on a snowy day. It was a bit shocking to learn that the artist was making a statement about environmental protection in the face of development, and that what I had perceived as stepping-stones actually represented viruses oozing out of the hot water and smothering everything in their way.

Nathan Vincent's crochet sculpture, "Dynamite," envelops rough, harsh objects in soft, inviting fiber. This artistic exploration of gender stereotypes blurs the line between masculine and feminine.

In Leslie Pontz's "Cactus Arm Flowered #5," the artist uses crocheted wire, thread, iron, and paint to represent a deflated cactus form that gives rise to the seeds of the next generation. "My work is `edgy' and is a visual presentation that requires people to think outside the box," says the artist.

For Gwen Kinsler, keeping a sense of humor is essential. Her playful approach, creativity, and crochet skills led her to create "Heartrock Hotel," made of Kreinik™ metallic thread. She has covered rocks in crochet for years, and explains the motivation for this piece:

 I have a degree in nursing and when I worked in an adult day center with clients with dementia, my boss gave me a small rock shaped like a heart. I had also collected the larger rock that I noticed was truly shaped like an anatomical heart. One day in the shower it came to me (it's where most of my good ideas surface!): "Heartrock," a play on the Hard Rock chain of hotels. So, I challenged myself to crochet over the rock and to place the large vessels in their correct locations. The vessels became the hotel rooms and I called the larger "pulmonary artery" the penthouse. That's where I attached the smaller covered heart with a small chain to keep it in place, but moveable."

Throughout the book you can expect to see familiar and non-traditional materials; figurative and abstract works; mathematically conceived and nature-inspired pieces; items that fit in your hand or take up a gallery wall; pieces to be worn, pieces to be displayed, pieces to gape at. Here is a complete list of artists Gwen Blakley Kinsler has included:

Arlene Frisch; Georgina Valverde; Pate Conaway; Carol Hummel; Renie Breskin Adams; Donna Lish; Dale Roberts; Nathan Vincent; Andrea Uravitch; Kathleen Holmes; Tracy Krumm; Donna Rosenthal; Karen Searle; Soonran Youn; Jerry Bleem; Jo Hamilton; Yvette Kaiser Smith; Bonnie Meltzer; Carol Ventura.

(I was delighted to see Dr. Ventura's tapestry crochet included. From her practical yet beautiful "Geometry Tote" to her crocheted portraits, Carol's name is synonymous with tapestry crochet. She is also a generous teacher: I took her course through CGOA several years ago and remain grateful for her encouragement.)

There are a few technical issues with the book. Some of the photo captions look like they were imperfectly cut-and-pasted—the bottom parts of letters are cut off. Also, it is sometimes hard to tell the captions from the text. It would have been nice to have the artist's name with every picture, as well as the date that the pictured item was created. There are other little glitches (like the missing comma or colon to set off a quote on p. 13, and the backwards quotation marks there). Although AuthorHouse provides editing, it would have been a good idea for Gwen Kinsler to send a pre-press copy to another proofreader.

Don't let these minor problems discourage you from exploring this worthwhile book. The Fine Art of Crochet is a much-needed exploration of the diverse styles, shapes, and textures of today's crochet. Marvel at the creations within, and be inspired.

The Fine Art of Crochet by Gwen Blakley Kinsler. Published by AuthorHouse. 112 pages; ISBN-10: 1481731866; ISBN-13: 978-1481731867. List price $34.99

Purchase from Amazon here.

Karen Whooley's "Fair Isle" class on Craftsy; 50% off for you!

If you like color and pattern, you've probably been intrigued by Fair Isle. Maybe you wondered if this traditional Shetland Islands technique could be used for crocheting as well as knitting, and whether it would be too difficult for you.

Wonder no longer! Craftsy is offering a new class, "Demystifying Fair Isle Crochet," taught by Karen Whooley. (Full disclosure: I received free access to the class. As you know, I will give you an honest assessment.) In the class Karen proves that (a) you can crochet Fair Isle and (b) it's not too hard for you! Keep reading and you will find a link for 50% off the class price!

Karen is no stranger to Fair Isle: in fact, she is the author of Learn to Fair Isle Crochet (2012; Annie's), Fair Isle to Crochet (2010; Leisure Arts), and six other crochet titles—with three more in the works. She's done her share of teaching also, from small guild meetings to national shows. If you subscribe to any crochet magazines you have probably seen her work.

"Demystifying Fair Isle Crochet" has the professional production quality and good pace that Craftsy classes are known for. You really get in-depth instruction from Karen. The course runs a little more than three hours and includes seven lessons, beginning with introductory material and leading up to three Fair Isle projects: the Poet Shawl, a trivet, and a hat.

Traditional Fair Isle usually includes up to five colors in a fairly muted palette; however, some people call any kind of stranded colorwork "Fair Isle." No matter which definition you use, Fair Isle crochet is worked with two strands of yarn on every row. They can be the same color for solid portions of an item, but will be in two colors elsewhere. The pattern is brought to life by having a certain color on the front in a certain position of the pattern. To know where that position is, Fair Isle is charted on graph paper. Karen is very thorough when she teaches how to interpret a graph. She explains the way to handle repeats, both horizontally and vertically, and gives tips to right- and left-handers. She also includes patterns that will be worked in the round, like the hat.

It's obvious that Karen did a lot of preparation for the class. (Having been on HGTV's "Uncommon Threads" myself, I can attest to the importance of having step-outs ready at the right time—and to how time-consuming it is to prepare them.) I especially liked in the Poet Shawl when she intentionally made five different types of mistakes, then went back to show us what they were and what caused them. It's helpful to know what to avoid, especially when the only solution might be to rip out several rows. (I do think that if a float ends up on the front rather than the back, you might be able to cut it and weave it through to the back; and if you happened to use the wrong color in a stitch or two, you could cross-stitch over it in the correct yarn.)

Although Karen is a crochet star, she isn't a movie star (yet). She explains the process of working with Craftsy:

From contact to filming it was about 2.5 months. This was quick because I had already written two books on Fair Isle in Crochet and I have taught classes on the subject. Since I had the basics of the class already in place, it was just a matter of fleshing it out, creating samples and new patterns. They have lots of help for teachers  who have never been on film before—like me! But once I was there and got through the first lesson, it was a whole lot easier.

Like every good crochet teacher, Karen emphasizes making a gauge swatch, especially for something worked in the round like a hat. "You would be surprised how different your gauge can be in my Fair Isle technique versus normal single crochet," she says.

I highly recommend this course for anyone interested in Fair Isle or who wants to learn a new technique. What you can expect from the Karen's Craftsy video course:

●  an introduction to Fair Isle, and a course overview;

● detailed instructions on how to change colors (and not get tangled);

● how to let the yarn "float" across the back and how to work over it to hide the floats;

● three original projects, including written patterns and charts you can print out;

● a forum to ask questions and get answers;

● in-depth instructions on working flat and in the round;

● several options for finishing your pieces;

● a bonus: tips for creating your own Fair Isle charts.

Where else can you find Karen Whooley?

Twitter: @KRWKnitwear for professional tweets; @12thManKnitting for all things football!

Ravelry: KRWKnitwear.

Website: karenwhooley.com

Teaching schedule: http://karenwhooley.com/calendar/

And oh, yeah! Here's the link to the 50% off deal for Karen's Craftsy Class, "Demystifying Fair Isle Crochet."

Happy crocheting!

Book review, Mommy & Me Crocheted Hats

Hats for the whole family! That's the subject of today's book review of Mommy & Me Crocheted Hats: 30 Fun & Stylish Designs for Kids of All Ages by Kristi Simpson. (Full disclosure: I received a copy of the book from publisher Stackpole Books, which has also published several of my crochet titles. As you know if you have read any of my previous reviews, my loyalty is to you, the reader, regardless of a book's origin.)

Don't let the "Mommy" designation put you off. There are hats for dads and dudes, too (beard, anyone?). Grandparents, aunts, uncles, neighbors...everyone will enjoy these creative projects. The book has an energetic feel that's sure to inspire.

Kristi designed, crocheted, and photographed a variety of hats from form-fitting beanies to headgear perfect for costume parties. If you like critters, the Horse Hat, Giggle Monster, Zack the Zombie, Sock Monkey Twist, Lamb Bonnet, and Snowman Cap give ample opportunity to embellish hats with eyes, noses, ears, and more. The Ahoy Mate! Pirate Hat is a clever way to conjure up a pirate when you don't have an eyepatch at hand.

There are some more traditional styles as well. The Groovy Waves Beanie, Luvbug Slouchy, Mary Kate Cloche, and Ocean Air Cloche are some of my favorites.

Kristi writes a different set of instructions for each size. That makes it very easy to keep one's place when following a pattern. I crocheted the Mary Kate Cloche in size medium and didn't have any trouble--and you know how fussy I am about instructions! Technique photos in the patterns and at the back of the book are helpful and clear, as are the pictures of the finished hats.

The book has a homey feel, in part because Kristi photographed real people rather than professional models. I support this inclusive approach, but I don't think it would have been inappropriate to do some photo editing (say on some drool). I know babies are messy, but I don't necessarily want to look at that writ large! Some of the pictures are not as crisp as professional photos for publication should be. For example, the cover page of the Sock Monkey Twist on page 48 and the Baby Doll Hat on page 32 are blurry in places. It's unfortunate when the background color doesn't contrast enough with the hats, like when the cute green fuzz on top of Zack the Zombie disappears into a green background. Sometimes there is also an odd borderline between the subject of the photos and the background.

I question the "Beginner" skill level assigned to many of the projects: I think those should be reclassified as "Easy." The Craft Yarn Council of America, which sets industry standards, defines Beginner projects as "Projects for first-time crocheters using basic stitches. Minimal shaping." Easy is "Projects using yarn with basic stitches, repetitive stitch patterns, simple color changes, and simple shaping and finishing." Although assigning a skill level is not an exact science, hats with shaping and color changes would seldom fit into the "Beginner" category. And it's hard for me to think of any rationale that would designate a project with bobbles as suitable for first-time crocheters.

The other thing that gives me pause is the use of buttons on baby/toddler hats. I know there are safe ways to secure buttons, and they make adorable embellishments, and plenty of crocheters use them in patterns for young children, but the mom in me only sees them as a choking hazard. (If you do use buttons, please make sure they are sewn on to stay.)

Getting back to the patterns, the hats themselves are a lot of fun! Obviously, if you're making one for an infant you'll choose the project, but for toddlers and older children I think it would be great to let your child pick out his or her favorite(s) and be involved in the shopping trip to get the supplies. Kids love to do what adults do, so sit next to them when you start the project. Explain what you're doing—even young kids will take in a lot more than you might think. When the little ones are four or five, seize the opportunity to put a hook in their hands and teach them how to make a chain! (One advantage crocheting has over knitting: no pointy needles.) Who knows, you may inspire a new generation of crocheters.

I love the idea of making hats for the whole family and then taking snapshots together. Not only will you have created hats you'll have fun wearing, you'll have made some priceless memories as well.

If you love hats and are looking for quick, fun projects to crochet for every member of the family, I recommend Mommy & Me Crocheted Hats.

Whirlwind Book Tour for Tunisian Crochet Baby Blankets

Ah yes, the book tour, in which the author visits dozens of exciting cities, gives talks to adoring fans, has a publicist to take care of all logistics, has all travel expenses paid for by the publisher, and signs record numbers of books. Right? Not exactly, at least not for the authors of crochet titles. Although I'm not on tour myself, my book is enjoying an exciting journey to crochet bloggers all over the country. I'm honored that Tunisian Crochet Baby Blankets has made it into the blogs of these movers and shakers in the crochet world. Here's some of what they have had to say about the book. Read the full reviews at the links shown (remember that some of the giveaways may be finished by now):

I absolutely love this book!  I think that the patterns are all timeless baby patterns, and would work in a variety of colors, not just the ones shown.  Each pattern has photo help to help you understand each special stitch given, so you aren’t hunting on YouTube for video how to!  Patterns are easy to read and the designs are just gorgeous.  I wish I had this book when I was working on blankets for my 2 new great nephews earlier this year!--Karen Whooley, KarenWhooley.com

And from Tammy Hildebrand, VP of the CGOA:

If you haven't seen Sharon Silverman's new book yet, you're in for a treat! Eight beautiful Tunisian baby blankets including cables, ripples, stripes, bobbles and basket weave. There are four "easy" designs, three "intermediate" and one "intermediate plus". There is truly something for everyone. And what's really great is that there are also online technique videos available to help should you need them. -- Hot Lava Crochet

Here's what Eurona posted on her blog:

Another pleasant surprise in Tunisian Crochet Baby Blankets is a jaw-dropping stranded colorwork pattern for those of us who would like to take our stitching skills to the next level. --Hands in Delight

Kathryn Vercillo had this to say:

I was familiar with the basic look of Tunisian crochet before this but had no idea that it could be used to make such a variety of different patterns including popular crochet stitch patterns like the basketweave stitch. Bobbles, cables and ripples are also all included in these patterns, each with a slightly different look from their traditional appearance since they are done in Tunisian crochet. What a great unique gift for the baby who already has a lot of handcrafted items from others!--Crochet Concupiscence

No less a luminary than Gwen Blakley Kinsler, founder of the Crochet Guild of America, reviewed the book on her blog:

I love Tunisian crochet and I’ve been doing a lot of it lately. This beautiful book by Sharon Silverman gives me a few more items to put on my “to-do” list!--Crochet Queen

Marty Miller, Past President of CGOA and one of my inspirations--I took her class at the first crochet show I attended in Valley Forge, PA--did a thorough review. Here's some of her evaluation:

Sharon is one of the "stars" of Tunisian Crochet, and her newest book certainly shows that. Eight baby afghans, each one a different Tunisian technique, each one a different Tunisian stitch or combination of stitches....Then, this week, I brought the swatches to class, and showed my students. They all liked the Tunisian stitches with the variegated yarn better than the regular crochet stitches with variegated yarn. And then, I showed them the other afghans in the book – they all oohed and aahed over them, but the two afghans that they were really interested in crocheting were the ripple afghan on the cover, and the Tunisian Full Stitch afghan - Purple Garden.--Not Your Granny's Crochet

Here is the evaluation posted by Karen McKenna, I Hook Design. Karen also swatched several of the projects and includes pictures of her projects:

This has been a great experience expanding my crochet skills, who says you can't learn new techniques. Thanks Sharon and Leisure Arts for making it easy....

I highly recommend this book for beginners and experienced as well.  What I love about the blankets is if you make them a little larger they are all perfect as a throw for yourself.--I Hook Design

And just today, Jocelyn Sass from Cute Crochet Chat/Crochet Cafe posted her interview with me. She asked me how I got familiar with Tunisian:

I discovered Tunisian crochet in a stitch dictionary while I was designing projects for my first crochet title, Basic Crocheting: All the Skills and Tools You Need to Get Started. I learned the basics from that book, then sought out other sources to extend my knowledge of the technique. It was really exciting to see the fabric that Tunisian crochet creates. I never liked projects with rivers of double crochet stitches—too loopy!—and Tunisian had a totally different look.--Cute Crochet Chat 

If you aren't regular readers of these blogs, I urge you to become one. It is refreshing to find thoughtful, experienced crocheters who share their experience so eloquently and generously.

More blog book tour stops are coming up later this month. Please check back here and on my Facebook page, Sharon Silverman Crochet, for information about those reviews and giveaways.

Maybe it's a good thing I'm not on the road myself. With the snow we've had this winter, I might not have been able to make it out of here!

I Break Patterns

Here are published errors I have found in the past several months: o          a stitch pattern in an Interweave book that says "rep from * across" even though there is no asterisk anywhere in the instructions for that row;

o          a stitch pattern in a different Interweave book that, when it says which rows to repeat, omits one of the rows that should be repeated, and perpetuates the error in the project that uses that stitch pattern;

o          very confusing instructions for a technique in Crochet! magazine;

o          in Interweave Crochet magazine, instructions that say the front of a sweater should be made the same as the back until it measures 5.5 (6.25, 7, 7.75, 8.5, 9.25) inches and then the neckline shaping should begin—which, unless you are built like Humpty-Dumpty, would put the neckline at your navel;

o          a project in a book from Stackpole Books in which the instructions go seriously wrong starting on Row 2.

Before I go on, let me address the question, "Haven't YOU ever made a mistake in a pattern?" Yes. I have made mistakes. Occasionally one has been published. For me, it is the worst feeling in the world. The sickening realization that I missed something, and that my mistake could make it difficult for a crocheter to succeed with my pattern, is horrible. My objective is for every crocheter to have a positive experience with my patterns. I want them to rely on me for correct, clear instructions 100% of the time. At the bottom of this post you will see my written re-dedication to this goal.

I also want to mention that there are some wonderful designers out there doing exquisite design with error-free patterns. My heartfelt thanks to them.

Let's get back to the errors above. A couple of them came to light when I was going through books to review; the rest surfaced when I was making projects just for fun and had trouble with the instructions. Believe me, I don't go looking for these things! Perhaps my background as a technical writer and writing instructor predisposes me to finding them. I also think that the fact I am not the world's best crocheter makes me less able to interpret what the designer means. I need to do what she says.

When I find what I think is a mistake, I always contact the designer to ask, "Am I reading this right?" In all of the above cases, the designers graciously acknowledged that there was an error.

What happened after that is very interesting. (These are not in any particular order. I'm not trying to call anyone out here; I just want to share my experience and start a discussion.) The authors' emotional reactions ranged from mortification to barely more than a shrug. Their practical responses also varied widely. One person put a correction on the Ravelry pattern link immediately. Another person wrote me a lengthy, helpful response to clear up confusing instructions, but those corrections have not been published anywhere that I can find (and the designer blamed the tech editor for the problems). When I checked with a third designer about whether the correction had been posted, she replied cheerfully, "I'm afraid not!" but she did want to make sure I understood how to do it correctly. As of today, the other errata have not been posted. I do not know whether the designers have contacted their publishers.

Is "Good Enough" Good Enough?

I have been turning this over in my mind. I'm bewildered and upset by the storm of errors and the seeming lack of accountability, but perhaps I am overreacting. I'm willing to consider that. Maybe the rest of you are thinking, "Get over it, Sharon! Mistakes happen, people figure them out, we publish a correction when it's cheap and easy...c'est la vie!" It would be nice to know how others feel. Am I on my own little island here? One possible explanation for my discomfort may simply be that my expectations are too high.

Something I learned from the excellent book Difficult Conversations: How to Discuss What Matters Most is that we all see ourselves a certain way. This identity colors our actions and interactions. For example, I see myself as "a meticulous pattern-writer who cares deeply about the people who make my projects." For me, a published mistake is embarrassing and totally inconsistent with that identity. Another designer may see herself as "a creative person who needs to crank out lots of patterns to support my children." That person may consider taking the time to check every row in every size excessive and ridiculous, since it is contrary to her mission and self-perception. Considering the time investment designers make compared to the amount we get paid, it would be hard for me to argue.

I would like to hear from publishers, whether it's book publishers, magazine publishers, or yarn companies that issue their own patterns. Is it possible that you have made a business decision to tolerate a certain percentage of errors since it would cost you more time and money to get perfect patterns? (I do understand how narrow profit margins are; anything that adds expense without increasing revenue isn't likely to be put in place, even it it improves quality. Perhaps the publishers' cost/quality equation is one we'll just have to live with.) What are the implications for future work when a designer makes an error? Are there designers you won't work with anymore because their work was too sloppy? Are there others you reward with frequent assignments because their patterns are done so well? And what if you, the publisher, have accidentally inserted an error during the editing process? Do you issue a correction and make sure people know it was not the designer's fault? Another question: Do knitting publications have a similar error rate?

Please understand that I get no joy from finding pattern mistakes. Anything that turns crocheters off is detrimental to the industry. Crocheters, please weigh in! Do you accept mistakes as par for the course and no big deal? Or do they drive you crazy? What do you do when you find one? Do you feel differently about errors if they appear in a pattern you paid for versus a free pattern?

Testing One, Two, Three

In the computer industry, a skilled code tester is highly valued. It is crucial that a program is put through its paces before it gets to the customer. Word spreads quickly about developers who provide smooth-running software and developers who create programs that are full of bugs. My husband is an awesome code breaker! Many times a colleague will send him a piece of code, swearing up and down that it is perfect and has been thoroughly tested. Five minutes later, Alan sends it back with a list of a dozen mistakes.

I wonder if there is a similar niche for me, maybe as a professional pattern tester for designers and publishers. I could combine my affinity for finding errors with the ability to do something about it in a way that increases pattern quality without ticking anyone off. All pattern testers are not created equal; super crocheters may, in fact, be the worst testers. They know what a pattern should look like, and they may compensate for any errors without even being aware they have done so. Perhaps the literal way I approach a pattern would make me uniquely suited for a "pattern-breaker" job. (Whether anyone would pay for the "Sharon Silverman Seal of Approval" remains to be seen.)

What I promise you now is that my own patterns will be thoroughly tested and edited. I will use tools like spreadsheets and schematics during the design process to help me write precise instructions, and will publish symbol charts and/or graphs when they are helpful. I will take advantage of all of the resources available (classes, books, conversations with other designers) to help me become a better designer and pattern-writer. If an error ever does get published—hey, I'm human—I will apologize, offer whatever pattern support is needed, issue a prompt correction, and make sure subsequent versions of the pattern have the update.

And if the time comes when my focus on quality makes it impossible for me to create patterns cost-effectively, I'll find something else to do.

Thank you for listening.

Book Review and a Giveaway, Crochet Wraps Every Which Way

Full disclosure: Author Tammy Hildebrand, current Vice President of the Crochet Guild of America, provided a glowing blurb for the back cover of my book, Crochet Scarves: Fabulous Fashions, Various Techniques. Crochet Wraps is published by Stackpole Books, with whom I have done five crochet titles (and a sixth in the works). That said, the purpose of this review—as in all my book reviews—is to give crocheters an objective, accurate assessment. Here we go! For starters, the book is beautiful. It has a nice clean look with a good balance of text, photos, and white space. The size and style of the typeface make it very easy to read. Color bars at the top of each page provide a subtle yet effective way of designating each project.

If a book can radiate joy and energy, Crochet Wraps does that. You can tell that Tammy loved all of the projects she made, and is excited to share them. It's a happy feeling to leaf through the pages and discover one gorgeous project after another.

Part of the book's appeal is its variety, not just in the size and shape of the eighteen finished garments but also in skill level, time needed to complete an item, and technique. It's always fun to learn something new, and Tammy gives crocheters a great opportunity to do that here. I have never attempted hairpin lace but it's been on my to-do list for a while. Crochet Wraps has given me the excuse I've been waiting for—I just ordered a hairpin lace loom. I had never thought about working hairpin lace in the round, and I can't wait to try Tammy's "You Are My Sunshine" pattern. Really stunning. The other patterns that drew my eye right away are "Midnight Azaleas," which puts a twist on motif crochet by adding a ripple edging, and "Chianti," done in broomstick lace.

I love Tammy's color choices. "Mystic Stars" fits right in with Pantone's 2014 designation of "Radiant Orchid" as the color of the year. There are blues, greens, purples, yellow, orange...black and white in "Shimmering Pearls"...soft colors and vibrant ones...autumn hues and spring palettes...and attractive color combinations. Equally impressive is the variety of textures, from light and lacy to warm and chunky.

With three patterns in each of six techniques (traditional, motifs, hairpin lace, broomstick lace, Tunisian, and double-ended), this book truly has something for everyone. Instructions in the back of the book, thoroughly illustrated with photos, provide excellent tutorials. It's helpful to have the visual index. (Kind of unusual, though, to have the items listed there in columns rather than rows. I'll have to ask Stackpole why they made that decision.) Tammy used yarn from eleven different sources, some of which I was not familiar with. I'll make it a point to check the websites for those companies, conveniently listed in the "Resources" section, and see if there are possibilities for my own designs.

As I do with all books I review, I tested some parts of a couple of patterns. The instructions for "Midnight Azaleas" were easy to follow. I didn't get as far as the finishing, but looking over the instructions for the Bottom Ripple I am pleased to see that Tammy tells us how many of each type of stitch we should have at the end of Row 1. That way crocheters can be sure to count the right thing without any confusion.

I was intrigued with the interesting look of "Cascading Rivers." A lot of my work has been in Tunisian crochet, and I hadn't seen a windowpane type of texture like this before. The one-shoulder poncho style interested me, too. I followed the instructions for Row 1 with no problem, but I ran into trouble starting with the return pass of Row 2. After puzzling over the instructions for a while, I contacted Tammy and she tried it out for me. It turns out that there are serious mistakes on Row 2 return and also later in the pattern. We were both disappointed to discover that. As a designer, I know the sinking feeling when a published mistake comes to light, especially if it has been edited and tested. Sadly, these things do happen. To her great credit, Tammy has acknowledged the errors and has made the corrections.

I told Tammy that if I published a review I would have to mention the problem, and I offered to not review the book at all. Tammy responded, "I don't want to sweep this under the rug. I want people to know that I will provide whatever pattern support they need so they can make this project!" That's a classy response to an unfortunate situation. Tammy and Stackpole are working together to create and issue errata, which I assume will appear on Tammy's website, FB page, and Ravelry page; and on Stackpole's website and FB page. Future editions will have the corrected information. (As long as they're going to this trouble, I hope that they will take the opportunity to include some technique photographs for how to work behind the previous row to do a Tdc 2 rows below—a picture or two of hook placement would be helpful.)

If you are interested in making this beautiful garment, make sure you obtain the corrected version of the pattern first.

My experience with "Clementine Shells," the beautiful Tunisian crochet wrap that appears on the cover, was much more positive. It worked up fast and the instructions were clear. It's interesting how two different ways of saying something can both be correct. Tammy says "Ch 4, draw through next 5 loops on hook" where I would say "Ch 3, yo, pull through 6 lps." The outcome is the same. In her version, it may be easier for a crocheter to count the 5 loops and stay properly positioned; in my version, the last two steps are combined so the hand motion is uninterrupted, but perhaps it is harder to see 6 loops easily.

I highly recommend Crochet Wraps Every Which Way to any crocheter looking for beautiful projects to make for herself or for gifts. Mother's Day isn't that far away!

You'll find new takes on traditional methods and may also be inspired to learn a new technique or two. Be aware that there are some flaws in the instructions, but don't let that stop you from enjoying this exciting addition to your crochet library.

Want to win a copy? Leave a comment here, and a winner will be chosen at random on Friday, January 24th. Make sure you check back here and on my FB page (Sharon Silverman Crochet)--I'll need your mailing address so you can receive your prize. (US addresses only.)

Crochet Wraps Every Which Way by Tammy Hildebrand. Paperback: 112 pages. Published by Stackpole Books, January 1, 2014. ISBN-10: 0811711838; ISBN-13: 978-0811711838

Purchase from Amazon here.