On Jan 16, 2006, at 10:42, Leonard Bazar wrote:
I've virtually always ended up with the main angle of work top right to bottom left, whichever side the footside was on [...] Has anyone noticed this, or is it just me being awkward? Can it make a difference to tensioning, or anything else that might matter?
And Robin Panza replied:
As for an angle of work, it really depends on the pattern for me. On my one try at wide and complex Skan (which has no pins except at the edges), I always made a mad dash for the footside (on the left) so I could anchor the thread. This meant the edge of the worked area was upper-right to lower-left. On torchon and Bucks, I often work in a chevron or even zig-zag edge as I work an area as far as it can go, then move to another area and work it. I like to complete motifs/sections whenever possible, and this leads to a front edge that progresses in bits and pieces. There have even been occasions when I worked from the footside down/right to the headside because that's the way I could understand the pattern.
Like Robin, I tend to work "logical sections", ie as far as a part will go, before pushing a bunch of bobbins out of the way and moving on to the next bunch. But I tend to work those sections in a general upper-right to lower-left direction, even if the line isn't exactly smooth. That has always seemed the most comfortable way to me, irrespective of where the headside is. The one time I tried to do it the other way around (in a case of two headsides and no footsides), I felt "boxed in" while working the part on the left. So, if the pattern's sections indicate that they ought to be worked upper-left to lower-right, I usually do not follow my own advice (finish the "logical section" first if possible), but work them only partially before moving to the side.
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