New Product: All Others Must Bring Data

by Terri

Have you been feeling frustrated by people who think that the plural of anecdote is data? For that matter, do people that can't correctly conjugate the plurals around the word data make you cranky? Then you're probably the target audience for this print.

In God We Trust All Others Must Bring Data - Art Print from Geek Calligraphy

How It Came To Be:

Both Ariela and I are quite concerned about how established scientific fact is currently being maimed and mangled to fit current political needs. That's not what data are for. A friend suggested we might do a print based around a quote attributed to Galileo, but it seemed too obscure to convey what we were feeling. Instead, Ariela picked a pointed quote attributed to W. E. Deming.

The graphs and spreadsheets in the background are all from Kaggle, a crowdsourcing platform for data-mining and analytics. As such, Kaggle is an enormous library of publicly available datasets, covering everything from Aviation Accident Synopses  to Dogs of Zurich to the Anime Recommendations Database, and many that are much weirder or more depressing. Also an enormous amount of data about Pokémon.

Which dataset is featured here? Why, the metadata on Kaggle usage! It's data about data, for a lovely, self-referential, navel-gazing loop. How are we presenting it? Honestly, our presentation here is nonsense, with graphs made out of data that show no particular results and spreadsheets juxtaposed just for the heck of it. This probably seems like an odd decision to make here of all places, particularly from an artist who makes much hay about the fact that she doesn't put nonsense text, binary, or even musical notation into her work.  It is there as a commentary on Deming's quote, to act as a caveat. The artful rearrangement of the data into pretty but meaningless patterns reminds us that data is only useful if we know how to analyze it well. If we don't, at best it is noise, and at worst it can lead us to conclude that ice cream causes drowning.* The Deming quote is pithy, but the truth is always more complicated.

This print is relevant for many situations, whether encouraging good decision-making at work or screaming at politicians and talking heads on the news. It is available in two sizes, 8" x 10" and 11" x 14" (matted dimensions) for $35 and $45 respectively.

 

 

 

*This is a famous example of "correlation does not imply causation." As ice cream sales increase, so do drowning deaths. Turns out both are just more common the hotter it gets. 

Be Back on Wednesday...

by Terri

Image shows 5 Mardis Gras** masks over many strings of beads.

Image shows 5 Mardis Gras** masks over many strings of beads.

Ariela is making her way back from London and I have just thrown my very first Purim seudah.* Thus, a short blog post accompanied by festive graphics and a slightly hung over Artist Wrangler. We will be back on Wednesday for March's Product Release!

Somebody get me two aka-seltzer and an economy size bottle of Advil....

 

 

 

 

*The festive meal that we are commanded to have on the holiday of Purim. Traditionally one invites friends to partake in copious amounts of food and alcohol. There were certainly both in abundance at my table.

**While Purim isn't precisely analogous to Mardis Gras, the mask is a recognizable symbol of the holiday, and Mardis Gras has a similar amount of festivity.

Fun with Quill Grips Part III

by Ariela

Quill grips knitted by Terri

Quill grips knitted by Terri

Back in May I wrote about the discomfort I was experiencing as I started to write with a quill due to the shaft being narrower than was comfortable for me to grip. Terri knitted two quill grips for me to use, proving that she is a wonderful manager and best friend and sometimes just as inclined as I am to do weird stuff just because the idea is there.

Alas, I discovered I have a tendency to get ink on them. And when you get ink on yarn you are gripping firmly, it comes back out. Sometimes I just got it on my fingers, sometimes it dripped, and sometimes it gooshed out in truly unfortunate ways. No photographic evidence of this part exists, because whenever it happened I was occupied with grabbing for blotting rags rather than reaching for a camera. I refuse to attempt to recreate it for the interwebs - I have some dignity to maintain.

So I turned back to the Rainbow Loom grip that I made. It is significantly less comfy than Terri's knitted ones, but rubber bands have zero absorbance, so I just wiped it off whenever I got ink on it. It did not get quite as sweaty as I had feared it would, but the knobbiness got to be a problem if I wrote for more than an hour.

Around the same time that I was inspired to upgrade my nib organization, I was similarly inspired to look into solving the persistent irritant of my quill grip. I knew that what I really wanted was molding rubber, but that I also didn't want to deal with making a mold. Fortunately for me, other people have also had a similar desire, and some time spent googling around introduced me to Sugru.

I ordered some Sugru and after a number of delays I finally got it. Based on all the images and gifs I have seen of people putting it on wires and showing how bendy it is I assumed it would have a decent amount of squish to it after it cured. Between the formulation of that sentence and the photos of people using it to hang pots on the wall, you have probably guessed that this did not turn out to be the case. Yet somehow I failed to reason that out. So I wrapped the entire packet around it in an effort to increase the girth of the quill as much as possible to counteract the assumed squish. Turns out, Sugru is only bendy when small amounts are wrapped around other things that are bendy. When you wrap a chunk around something that doesn't have a heck of a lot of give to it, it's pretty solid.

The new quill grip made out of black Sugru. I chose black so that it won't show any staining from the ink.

The new quill grip made out of black Sugru. I chose black so that it won't show any staining from the ink.

I've been busy with other projects since I did this, so I haven't had a chance to test out the new grip for an extended period, which is always the proving ground. I may trim it down, or I may use another packet to make a narrower grip, perhaps with a bit more contouring, though I have never been a fan of those super-contoured pencil grips they make. But I think that Sugru is probably the solution I have been looking for.

Upgrading Nib Organization

by Ariela

When I feel like I cannot control what is going on in my life, one of my coping mechanisms is to clean and organize. Clutter makes me tense, and it acts as a good proxy for things I cannot actually control. Last year, during a particularly bad couple of weeks at work, I labeled every ten-inch span of the shelves in my pantry.

A few weeks ago, inspired by I am not sure what, I decided that I needed to upgrade my nib organization system. I mean, I know why I needed to improve the situation, I'm just not sure what prompted me to decide that now was the time that it needed to be fixed.

 This was my old organization system:

One box with slots, seven little envelopes, three little plastic bags, and one box labeled "random nibs" with utter chaos inside.

One box with slots, seven little envelopes, three little plastic bags, and one box labeled "random nibs" with utter chaos inside.

The plastic case with the different slots for 10 nibs, a piece of magnet, and reservoirs, was originally a set of Manuscript nibs that I bought years ago in a state of naivete. (I have since learned that I hate Manuscript everything, from their nibs to their cartridge pens.) I moved the Manuscript nibs somewhere else and put my primary set of nibs, right-handed Mitchell Roundhand nibs from John Neal Booksellers, in there. It's not space efficient, but it meant that I could find the correct size nib easily.

Not so for the rest of my nibs. My left-hand Mitchell nib set, used for certain Hebrew hands that require a different pen angle, I continued to keep in the little envelope John Neal sent it in. Every time I wanted a nib, I had to dump out the entire set and sort through them to find the right size. Ditto my backup sets of nibs for both right and left Mitchell nibs. All my other nibs were jumbled together in a small box held closed with a rubber band.

I thought about trying to get more cases like the one my Manuscript nibs came in, but it's not particularly space efficient.

The two nib organizers that don't meet my needs.

The two nib organizers that don't meet my needs.

So I googled for "pen nib organizer." I came up with surprisingly little. Artbin has a container similar to the Manuscript one, but it has several compartments in which to put multiple nibs, which would still require a bunch of sifting through a bunch of nibs to find the right one. There was also an Etsy listing for a block of wood that would store the nibs pointing upright, perfect for stabbing yourself when trying to get the next nib over. But the second image result led me to this blog post from Studio Chavelli.

So over the following weekend, I made my own. I continue to be terrible about taking process photos, but here is my finished Nib Organizer Wallet:

Head-on view of the new nib organizer wallet, with my hand

Head-on view of the new nib organizer wallet, with my hand

Side view of the open nib organizer wallet

Side view of the open nib organizer wallet

The first two rows or "pages" of nibs are both Mitchell Roundhands, righty nibs in front with the yellow paper, lefty second with the purple paper. The two remaining rows behind are both covered in white paper and contain my Brause poster nibs, a selection of Hunts, aka Speedball, and two random singletons with space for more at the back. Each is labeled, but the color and order tells me at a glance what is where.

The inside of the organizer is all corrugated cardboard, but I wanted the outside to be more durable. I used a different kind of cardboard that is much denser but also thinner and taped both a front and a back on just like extra pages. I added two additional pieces to create a top flap that lapped the front over. I covered it with some tan pleather I had lying around, gluing it in place with PVA glue. Then I cut a small notch in the front of the outside cover so that I could settle the socket half of a large snap in place. I then sewed the snap down with doubled button thread. I used a piece of durable blue fabric leftover from a bookbinding project to cover the inside of the front cover; cut it to size, pinked the edges, and then glued it into place with PVA. The blue cloth covered up the edges of the pleather and the ugly side of the stitches on the snap socket.

I cut a piece of the same blue cloth to cover the inside of the back cover next. I sewed the stud half of the snap to that fabric before pinking the edges and gluing it into place to keep from having to sew through the cardboard and leave the stitches showing on the other side of the pleather. I glued the pinked fabric with the snap sewn in to the inside of the back cover with PVA. And that was it.

I brought the new nib wallet with me to Capricon where I was doing some art demos. I could tell when a fellow dip-pen user walked by because they would stop and goggle at the open nib wallet next to me. I got nearly as many exclamations over the nib wallet as I did over the calligraphy in process. Clearly I am not the only one who has felt the absence of such an item in their life.

All Art Is Political

by Terri

"At this point, assume all art is political unless proven otherwise" ~ me

Image is text that reads "Assume all art is political until proven otherwise. Then question that proof."

Image is text that reads "Assume all art is political until proven otherwise. Then question that proof."

I'm angry a lot these days. I'm angry at the government, I'm angry at everyone who doesn't understand just how dire the situation is. But a special sort of anger is reserved for people who are angry at artists for daring to be "political."

You know those people. The ones who can't stand Meryl Streep's acceptance speech at this year's Golden Globe awards.* The folks who think "Born In the USA" and "This Land is Your Land" are patriotic anthems, rather than the protest songs that they are. Your uncle who watches Fox News and thinks that Beyonce's costuming choices for her Super Bowl Halftime performance last year were anti-police and beyond the pale.

The underlying message that those people are trying to convey is this: "you are a robot. You many speak the words that we place in your mouth and no more. You may sing the songs that we like and no more. You may paint pretty pictures that we like and no more. How dare you express opinions that I** disagree with." 

I'm sure that some people think that our art is "too political." Neither Ariela nor I keep quiet about how we feel about institutional racism, systemic misogyny, antisemitism, ableism, or any other form of bias that keeps people from achieving their all. We have greeting cards and art prints that refuse to place boundaries on love.*** Our ketubot all have an option to come with a text that places no limits on the gender of the people getting married.

We will not be your performing monkeys. We are humans, as are movie stars, famous musicians, performance artists and anyone who is on stage and entertaining you. We are entitled to our opinions and we are entitled to broadcast them in any way we choose.

You've been warned. My patience is up.

 

 

 

 

*There were problematic elements to that speech to be sure. But they were the inherent ableism, rather than the political message.

**Notice how the people complaining about "political art" are usually on the right. Your average liberal might boycott or protest movie stars, musicians, etc that they don't agree with,**** but they don't tell them that they shouldn't speak their views.

***Granted, they depict zombies in them. But hey, we refuse to have exclusively heteronormative zombies on greeting cards.

****There is an underlying assumption working here that "political" means "thing I don't agree with." I honestly don't have the time and energy to unpack that in this post. Maybe next time.

New Product - "Take Care of Yourself"

By Terri

The news is horrible. We're all in danger of succumbing to outrage fatigue. Hang this on your wall to remind yourself to take the steps necessary to stay sane and keep fighting.

How It Came To Be:

This is not actually the print we had originally planned for February,* but Ariela made this because it was something she needed to hear herself, plus she was somewhat creatively burnt out. Thus creating this print was also an act of self-care.

The print is riotously colorful, because it needs to be happy to remind others to be happy. All of the activities listed require relatively little money, because Ariela wanted them to be widely accessible. Yes, we're aware that if you are poor enough, they're not all accessible. We're also aware that making a high-end art print that is aware of this limitation is somewhat ironic, but artists need to eat. We should not be cutting our own bottom line out from under ourselves to further our commitment to social justice.**

Self-care is not selfish. You are precious. And you cannot take care of others or fight for what you believe well if you are run-down and burnt out. This is a long haul kinda thing and burning up in a blaze of self-sacrifice at the beginning isn't the way to go.

The print is available in two sizes: 8" x 10" and 11" x 14" (matted dimensions) for $30 and $45 respectively. $5 from the sale of each print will be donated to the Hebrew Immigrant Aid Society (HIAS), who are currently doing some amazing work supporting refugees trying to come to this country.

*To be honest, it's not even the second print scheduled for this month. We've both been overwhelmed and burnt out since the election. Overwhelmed and burnt out artists and their wranglers edit their production calendars like sensible people.

**In addition, when you cut the bottom out of your own bottom line, you also cut the bottom out from other artists, too. So making a charitable print and taking a loss on it might cause people to buy your thing rather than someone else's who cannot actually afford to take a loss. Which is why it is good artist practice to encourage others to price themselves properly, even when starting out.

 

Con Schedule: Capricon with Bonus Boskone

by Ariela

Image shows the Capricon 37 flyerTagline: And the Children Shall LeadAuthor Guest of Honor Beth Revis, Artist Guest of Honor Nilah Magruder, Fan Guest of Honor Meg Frank, Musical Guest Tim Griffin

Image shows the Capricon 37 flyer
Tagline: And the Children Shall Lead
Author Guest of Honor Beth Revis, Artist Guest of Honor Nilah Magruder, Fan Guest of Honor Meg Frank, Musical Guest Tim Griffin

I am off to Capricon this week!

Capricon 37
February 16-19
Westin Chicago North Shore
Wheeling, IL

In addition to hanging art in the show, I will be sitting on a number of panels.

Friday, 1:00 PM:  Theology in SF
Room: Botanic Garden Ballroom A
Panel # 96
How are real world and fictional religions portrayed in SFF? What authors get it right, and how does it go wrong?
Note that this panel will definitely cover Fantasy as well as Science Fiction regardless of the panel name. How do I know? I'm the moderator, that's how. Mwahahaha.

Saturday, 1:00 PM: BFFs in SFF
Room: Botanic Garden Ballroom B
Panel # 100
Our panelists explore the power of female friendship in fiction, media, and gaming.

Saturday, 5:30 PM: Art in the BEFORE TIMES.....
Room: Birch A
Panel # 10
A look at the way art was produced before digital tools were readily available.

Sunday, 10:00 AM: Getting Started in Costuming and Cosplay
Room: Birch A
Panel # 110
Is there a better way to show your love of a character than to cosplay as them? We don't think so. Creating original costumes is an amazing way to express your creativity. Panelists and audience exchange costume creation tips.

Sunday, 12:00 PM: Diversity Programming
Room: Birch A
Panel # 26
What does diversity programming mean? How do we move from being purposefully diverse to organically diverse?

I will also be doing art demos at the art show at X times. Come stop by!

Bonus art show: Boskone!

In addition, we are sending art to the Boskone 54 Art Show, February 17-19 at the Westin Boston Waterfront in Boston, MA. Terri might stop by on Sunday, but no guarantees. If you were not able to snag a piece of art you wanted at the Arisia show, stop by Boskone, it might be there!

More Advice for Artists: On Contracts

Including Sample contracts for Ketubot and Teaching Workshops

by Ariela

In addition to the "Judaism's Influence on SFF" panel, I also sat on a panel on "Consulting & Contracting: How To Make (For) Money." We covered a lot of practical advice, ranging from answering specific questions from the audience to general advice (Find a nice person to do your taxes for you, they are worth every penny!).

This is what a sample of the first page of Ariela's boilerplate contract looks like.

This is what a sample of the first page of Ariela's boilerplate contract looks like.

One of the "brass tacks" sections that I insisted we cover was the basic parts of a contract. For me, they are:

  • Deliverables - make sure everyone understands what is being promised and what is not within the scope of the project.
  • Timeline, Breakdown, and Deadlines - make sure everyone knows what has to happen first and that deadlines work both ways; you cannot deliver the product on time if you don't get the necessary answers and pieces on time.
  • Copyrights, etc. - lay out who holds the rights to what once the project is done.
  • Payment - set the payment schedule and the projected cost, with a caveat that changes to the scope of the project along the way will change the price, probably increasing; include late fees if possible.
  • Provision for changes - lay out the process by which a party can request changes to the deliverables or contract, plus cost renegotiation.
  • Escape Clause - how can the contract be canceled?

We also talked about finding contract templates online. There are lots of them available. The Graphic Artists' Guild has some good examples. However, I mentioned that since my commission work - ketubot (Jewish marriage documents) - is so niche, none of the samples I found really covered the particulars I needed. At which point the other panelists turned to me and asked "Have you put a sample online for other artists?" And I went, "Oh, yeah, that would be a good thing to do."

So here: Sample Contract for Ketubah Art and Calligraphy

Please feel free to download it and alter it to suit your needs. It is not watermarked and does not have the Geek Calligraphy logo on it, and you should feel free to remove the attribution at the end when you adapt it for yourself. I want this to be as widely available as possible.

You may notice that it is long. Many sample art contracts are just one page. This one covers a lot of specifics to the ketubah trade, and there are many fiddly details to be worked out when the contract is to produce another contract.

While I am at it, I also want to make available my other mainstay contract, the one for teaching engagements. I mostly teach in my safrut (Jewish ritual scribing) hat, but I am available for teaching regular Hebrew or English calligraphy as well. And I won't teach without a contract.

Sample Contract for Teaching Engagement

This one is a lot more generic, and there are plenty of other sample contracts for teaching isolated gigs out there. Find one that covers your particulars.

Some Words of Warning

Now remember kids! Don't ever work without a contract unless you are willing to be stiffed completely for the project.

Unfortunately, even having a contract is not a guarantee of getting paid. Sometimes just getting a lawyer to write a threatening letter on official stationery is enough to inspire a client to pay. But then there are times you have to make a decision about whether it is worth contacting a collections agency or taking the client to small claims court to get paid or just needing to eat the loss. But if you don't have a contract, the chances of not getting paid are much, much higher. I know this from experience. And if anyone balks at signing a contract run away fast.

This goes just as much for work you do for friends and family as it does for work you do for strangers. Many friends are lovely and respectful about it, but others turn out to be nightmare clients. Spend some time on Clients from Hell and you will see complaints about people whom you thought were close to you expecting hours of free labor by dint of relationship. Your work is valuable and people do not have a right to impose on you just because they are friends or family.

While we're talking about the worth of your work, a topic on which I have expressed strong feelings in the past, let's talk for a moment about pricing. I won't go into specifics because I can't even begin to create a price chart for my own work, nevermind for someone else's, given the number of potential variables. But don't think that just because you are new to professional art-ing that you shouldn't get paid. Particularly please do not think that you are doing other, more experienced artists a disservice by charging. When you charge too little, you a) set up expectation that your prices will be too low in the future, and b) you cut the market out from underneath everyone. So for the love of whatever higher power you embrace, please charge what your time is worth and get a contract signed.

The Saga of a Knitting Project, or Why I Don't Knit Wedding Presents Anymore

by Terri

Note: unlike Ariela, my creative skills did not manifest in an ability to draw with any proficiency. While this post will be liberally illustrated with photographs, it will not contain chibis.

Back in 2008, two of my best friends announced that they were engaged and would be getting married the following June. I was asked to be a groomsmaid. Ariela was making their ketubah, and I was going to knit them a beautiful heirloom afghan. At that point, I'd been knitting pretty steadily for around 3 years. I'd made socks, a much smaller blanket than I was planning, scarves, hats, and a lace shawl. I'd even designed a fingerless mitt pattern.

I was going to use pattern squares from The Great American Aran Afghan book and alternate them with some plain stitch pattern squares. I was going to borrow a technique from the blanket I'd already knit and get myself out of having to sew every square together. It was a brilliant plan, and the blanket would be ready by their wedding. 

HAH.

Image shows one of the plain squares in progress. It is a dark blue yarn, knit in seed stitch.

Image shows one of the plain squares in progress. It is a dark blue yarn, knit in seed stitch.

I started knitting the afghan in October of 2008, after confirming colors with the recipients. I was chugging along on a project that I had no idea was biting off way more than I could chew. Initially, the afghan was going to have 5 strips of 4 squares each. I'd done a little swatching, so I knew how to get a one foot square from the yarn and needle size I thought would work for all the squares* in the plain blue squares. I was working from cable charts that I wasn't entirely sure how to read, and disregarding actual pattern instructions willy nilly.** 

It's now too long ago to remember exactly why I slowed down the work. My personal life was kind of a mess, I was working full time and beginning to start part time community college. The notes in my Ravelry project page are sparse. I just know that Josh & Liz were married on June 28, 2009 and that the afghan was far from finished. I have a note saying that I needed to get working on the afghan again from December 2010. By then, they'd been married for a year. I think I had finished one strip of 4 squares.

In February of 2011, I got engaged. Both Liz & Josh were going to be in our wedding. By March of that year, I'd picked up the afghan knitting again, thinking that it would be a good "thank you for being in our wedding party/2 year anniversary gift." I finished a second strip and attached that to the first so I could have an idea of what the thing was actually going to look like. That was when I should have noticed that ignoring how I was measuring things was going to make the project hard to fit together, but the bulldozer in me decided it was all going to be FINE. It's a good thing I didn't plan on knitting anything for my actual wedding that August, since wedding planning basically ate my life. 

Ariela and Benjamin's afghan in progress on a lovely sunny day in New York City.

Ariela and Benjamin's afghan in progress on a lovely sunny day in New York City.

Every so often, I would pull out the afghan and knit a couple of rows. It bored me at that point. I would joke with Josh & Liz that it would be done for their "X anniversary." When Liz went to California to do her PhD and Josh had to stay behind in New York City, I told them that it would be done by the time they were living in the same city again (giving me a three year window for Liz's coursework to be completed), or at the very least before their first child was born. In the interim, I cast on and completed another wedding blanket - this one for Ariela and her husband. In contrast to the epic afghift, this one only took just over a year to complete.*** In 2013, I got pregnant with my daughter, and then baby knitting consumed my entire brain. Then my daughter was born, and I had no brain left to think about knitting anymore.

Image shows afghan as of August 18, 2015. It is composed of three strips of 4 squares each. 8 of those squares are blue seed stitch, 8 of those squares are green (the light is very yellow saturated, but I promise they're green) in various cable patt…

Image shows afghan as of August 18, 2015. It is composed of three strips of 4 squares each. 8 of those squares are blue seed stitch, 8 of those squares are green (the light is very yellow saturated, but I promise they're green) in various cable patterns.

In 2015, I decided to do a project running around on social media called #yearofmaking. I would dedicate more efforts into my various projects and finish some of the things lying around my baskets, documenting the process along the way. I decided that this would be the year I finished knitting that damn afghan. The fact that Liz had moved back to New York to write her dissertation and they were expecting a baby may have motivated some of those decisions.

I'm not a monogamous knitter by nature. I have a big problem with startitis, and people did persist in having kids that year that needed wee baby sweaters. But by August 2015, I had finished the third afghan strip. I seamed it with the other two and realized that If I made the entire afghan as I'd originally planned it, It would be huge. And that I had no interest in doing that. So culled two pattern squares from the 4 left in the initial project plan and decided that they would be it. And to my credit, I did finish the afghan by September 21, 2015. Well, I finished knitting it anyway. And I got a baby sweater done for Josh & Liz too.

The thing about knitting a project this big is that just finishing the knitting isn't enough. The picture accompanying this paragraph demonstrates this to significant effect. The edges are really funny looking, pulling in in some places and puckering out in others. The pattern squares aren't the same size as each other, let alone all the plain squares. There are yarn ends all over the place from changing colors and balls of yarn. In order to turn that mess into something that would look respectable on someone else's couch, you need to employ the magic of blocking.

The afghan as of September 21, 2015. All of the pieces are knit, seamed together and edged in crochet.

The afghan as of September 21, 2015. All of the pieces are knit, seamed together and edged in crochet.

Image shows me holding a very small steamer over the afghan all pinned out on our IKEA sofa bed in the bed position. This is what one kind of blocking looks like. 

Image shows me holding a very small steamer over the afghan all pinned out on our IKEA sofa bed in the bed position. This is what one kind of blocking looks like. 

Depending on the size of your project, blocking can be simple or it can be complicated. When I block a pair of fingerless mitts, I dunk them in the sink with some wool wash, wring them out, then lay them out on a dish drying mat until they are dry and ready to go. A baby sweater can take the same dunk, but needs to be wrapped up in a hand towel and then stomped on to get the bulk of the water. As you increase size and various elements of complexity, wet blocking stays relatively simple, but you start needing bigger surfaces to dry the project on.**** With a shawl, you often have to pin it into the correct shape while wet so that it drys in that shape.

With something as big as this afghan, I'd have needed to soak it in the bathtub for it to get properly wet. And it still needed a huge surface to dry on. Also, since the edges were so weird, it would need to be severely pinned in place to ensure that they would dry straight. And in our first Boston apartment, we didn't have any space that big. We did have a futon, but ever since setting up the crib in our daughter's room, it stayed a couch. There was also a desk in that room, so it was hard to open the futon. And our little baby was no longer a lump that would stay put. She was mobile and inquisitive. I honestly didn't know where I would be able to block the afghan. So it sat in a box for almost another year.

December 20, 2016. The afghan is seamed, edged, blocked, and all the ends are woven in. 8 years after casting on, the afghan is done. It is 4 squares by 4 squares.

December 20, 2016. The afghan is seamed, edged, blocked, and all the ends are woven in. 8 years after casting on, the afghan is done. It is 4 squares by 4 squares.

When we moved to our new apartment in July of 2016, we got a third bedroom. We purchased the IKEA sofa bed the previous tenants had in that room, put our big heavy desk in there, moved all my yarn in, and made it the office/craft room. It would also be the spare bedroom for when we had guests stay over. 

We unpacked the house, got rid of the boxes, and still I had a box labeled "Hibernating WIPs***** and Josh & Liz's afghan." It never seemed the right time to deal with the monster. 

In December, we had some good friends stay over. I was unmaking the bed from their stay and noticed the box in the corner. I decided that I would just take care of the afghan right then and there. I pinned out the blanket so that it covered most of the bed's surface. I plugged in my teeny handheld steamer and ran it over and over the afghan, relaxing the stitches with the warm water vapor. I let it sit drying for over a day. And when I unpinned it, it stayed basically the same shape. I sewed in all the loose yarn ends and trimmed them. On December 20, 2016, the afghan was finally finished. I wrapped it, put it in a box, and mailed it off to Josh & Liz, where it now sits on their couch.

The afghan in its correct home, only 7 years too late.

The afghan in its correct home, only 7 years too late.

I learned a number of things knitting this afghan. Here are some of them, though this is not an exhaustive list:

  • The definition of "portable" is malleable and really means "anything that will fit in my messenger bag."
  • I hate crochet, but I can do it smoothly enough, and now know how to turn corners.
  • I can fix cable mistakes from the wrong side of the knitting
  • When I began the project, I vastly underestimated this particular undertaking
  • There isn't much I won't do for friends. Introduce them to the love of their lives, crochet, shackle myself to a seemingly unending project...
  • Two rounds of single crochet around 16 square feet will use most of a 50 gram ball of yarn.
  • No matter how much I love you, I'm getting something from your registry as your wedding present.******

Now that it's done, I am trying to reassure myself that I'll never take on something this ridiculous again. Check back with me in a few years to see how that went, OK?

 

 

*SPOILER ALERT: I was wrong

**This wasn't the first time, and it sure wouldn't be the last time

***I thought that this project was much more reasonable. It was a single pattern, knit from the center out. I still wound up hating it.

****And bigger towels to wring the project out with

*****Works In Progress

******This is why there is a line in the Fiber Artists Oath that says "I pledge to be honest with myself about my production speed and remember that it really is okay to give even very beloved people a gift other than a handmade Something."

Judaism in Dialog with SFF Fandom

by Ariela

On Saturday, January 14, I sat on a panel at Arisia entitled "Judaism's Influence on SFF." The irony of the timing aside, the room was packed beyond capacity and it went very well. The last question the moderator, Michael Burstein, posed was not about SFF stories, but about fandom, namely "How has Judaism influenced your fandom?" This is the substance of my answer, expanded slightly and with added context.

Judaism has influenced almost every aspect of my life, and fandom is no exception to that rule. In fact, I sometime refer to Judaism as my first and primary fandom.

The Jewish culture in which I grew up bears some striking resemblances to fannish culture, and perhaps it prepared me to move into fandom by dint of familiarity. For context, I grew up in an observant but gender egalitarian household in Boston. My parents are Ashkenazi, meaning we are of Eastern European descent, as were the communities in which we lived and participated, though not all of our communities were gender egalitarian.

Here is a short, non-exclusive list of things from my Jewish upbringing that is also true for fandom:

Part of the Oz VeHadar edition of the Babylonian Talmud. Image from zolsefer.co.il.

Part of the Oz VeHadar edition of the Babylonian Talmud. Image from zolsefer.co.il.

  • Books. Books books books. Did I mention books?
  • Learning the contents of those books well is not only encouraged, it is a means of accruing social status. People who can cite wide swaths of text to back up their opinions are given social points. Points, too, for being able to recite large portions of text from memory.
  • Books are also used for social display. More books is better, and buying expensive multivolume sets of Talmud and Codes is considered a laudable expenditure.
  • Debate is an enormous part of the Jewish body of texts, and is still enthusiastically practiced today. Debate over minutiae is encouraged and debate over ridiculous hypotheticals is practically an art form. Again, social status awarded to those with the best arguments, eloquence a plus.
  • It's expensive. Kosher food is expensive. Jewish education is expensive. All those books are expensive. More money makes participation easier.

So Judaism made fandom more accessible to me through familiarity. But what about the other way around? Has fandom enhanced my Judaism?

I have not found that my personal observance or my spiritual life has been advanced by my fandom. However, I have discovered that fandom is a wonderful vehicle to explain my Judaism to my fannish friends.

Being an observant Jew means that Judaism affects almost everything about my life. From taking the holidays off work to saying a blessing each time after I use the bathroom, Judaism is not just something I think about but something I am actively doing all day, every day. For friends who mostly grew up with some flavor of Christianity, whether they adhere to it or not, this isn't something that's easy to process. To them I explain, Rabbinic Judaism is a 2000 year long LARP.

This sounds like a flippant thing to say, but bear with me; I say it in all respect with the intent to convey some of the important aspects of how living an observant Jewish life is a lens through which we view the world. Also, here is the disclaimer about this being an analogy and not being or trying to be a perfect representation of Judaism.

Rabbinic Judaism is not the Judaism described in the Torah. In this analogy, the Torah is more like the list of books that you see when you open a DnD manual, the ones that you loved so much you want to participate in them, the ones that inspired you to start playing but don't actually give you any mechanics by which to play.

Our first attempt at a set of rules was the Mishnah. Like the first edition of DnD, it was incomplete and buggy. (In fact, it wasn't actually a rulebook at all, but a selection of legal discussions, in the course of which some laws are decided. Details, details.) No one uses it now, but it was the place where the project started. The rulebooks expanded out from there, the Gemara, the Commentaries, and then out to the Codes. Along the way we get significant geographic variations in our rules, as well as extensive discussion about said rules ranging from polite to vitriolic. The flame wars, ooooh, the flame wars we have.

Where the comparison really becomes useful is to explain how we use these laws to govern our daily lives. Halacha, Jewish law, is our world mechanics.

Take, for example, the prohibition on mixing milk with meat. On the surface that sounds simple enough. But what counts as mixing? Answer: we have rules for that! Let's say you accidentally get something meaty into your dairy dish, doesn't matter how. By Jewish law, it's okay to eat as long as you cannot taste the meat in the dish. But what if you taste it and discover that you can taste the meat? Then you will have violated the law? The obvious solution might be to find a trusty Gentile friend, who has no such prohibition, and ask them. But what if you have no trusty Gentile friend available? For much of Jewish history, we couldn't count on having non-Jewish neighbors who would be friendly or accessible, so a heuristic was developed: if you have a liquid dairy dish, as long as the meaty thing that was accidentally dripped in comprises less than 1/60th of the total volume, you can assume that it doesn't affect the taste. There are different rules for solids. Being hot or spicy is also taken into account. There's a whole decision tree. Are you starting to see the parallels between this and rolling a Diplomacy check when trying to convince the guard to let you into the city?

Extrapolate from here. Whenever I run into a situation where Jewish law applies, which is extremely often, this is the sort of check I run in my head. We have Jewish law on business, ethics, food, charity, clothes (there is a preferred order of operations for putting on shoes with laces). These are the mechanics by which I engage world.

Of course the purpose of a LARP is for everyone to have fun and the purpose of Jewish law is for people to lead a moral life in accordance with the commandments of G-d and improve the world. The analogy only goes so far and the ethical monotheism component of Judaism is neither trivial nor optional. But when trying to explain to my fannish friends how Judaism influences my life when I am not having theological discussions, it's a useful analogy to make.

Ben Zoma said: Who is wise? One who learns from every person.-Ethics of the Fathers 4:1

Ben Zoma said: Who is wise? One who learns from every person.
-Ethics of the Fathers 4:1