…
Warps?
The Fab Four guitars are so cute, right down to their little strings!
Obviously
strings are very important on a guitar. These
particular strings (right) had a major influence on the finished product.
I particularly like a guitar's ability to bend the pitch of a note easily by flexing the strings.
I particularly like a guitar's ability to bend the pitch of a note easily by flexing the strings.
MonicaRodriguez Fuertes’ pattern suggests the strings be embroidered onto the neck of
the guitar.
Crochet Today’s photograph (below) shows strings made of yarn laid across the length of the guitar neck and attached at each end. The yarn looks a little loose and also a little thick for the size of the guitar neck. Would they be suitable for strumming?
Crochet Today’s photograph (below) shows strings made of yarn laid across the length of the guitar neck and attached at each end. The yarn looks a little loose and also a little thick for the size of the guitar neck. Would they be suitable for strumming?
 |
| Crochet
Today's photograph shows guitar strings made of white yarn. |
In
my quest for a closer resemblance to full-size guitars, I wanted my strings to
be finer but also with some “twang”–some elasticity so they can be strummed and
flexed and still snap back to shape like real guitar strings.
My
solution was to use shirring elastic instead.
Perfect! It is finer than the
yarn so I can fit up to six strings on the guitars, and it certainly snaps
back.
Crochet
Today magazine had only one guitar in the pattern–Electric Bass Guitar–which only has
four strings but I wanted a lead and rhythm guitar too (they have six strings).
The
beautiful thing about crafting is the ability to modify and customise the
project to meet specific needs.
Just
like the drumkit (in Crash Course etc.) I used extra crafting materials
besides yarn:
- Plastic to strengthen/support the necks
- Shirring elastic for the strings instead of yarn
- Beads as tuning pegs (the pattern suggested embroidered French knots)
- Beads or small buttons to represent volume and effects knobs (although these could be embroidered instead)
The
pattern instructed, “Sew or glue 2 tiny
yellow buttons in center (sic) of rectangle for ‘volume knobs’” yet the
notions list did not include these items; another important reason for reading
a pattern right through before starting the project.
Remember
to check the quoted dimensions and measurements too!
Just
like the drums, I enthusiastically started on the guitars only to realise they
were not to scale with the dolls (because I used different sized yarn and hook). My notes say:
“2/9/12: Frogged instruments because they
didn’t work up to same scale as pattern. Mathematics required!”
I
quickly pulled them apart to start again except the second time, I applied the
mathematics used for the drums to the guitars also. The process is summarised in
Fashioning the Fab Four (Part 10): We Can Work It Out.
In “We Can Work It Out”, calculations showed my row and stitch tensions to be
approximately 76-78% of the original gauge.
In Fashioning the Fab Four (Part 6): Production Time, I compared the dimensions of the dolls
in the original pattern with my smaller versions. My dolls were 69-70% smaller in DK than the pattern
originals. The table is reproduced below with an extra column:
Size comparison: DK + 3.5 mm hook
vs
Aran + 4 mm hook
|
Original
pattern dimensions
(4 mm hook +
12 ply/Aran yarn)
|
My
dimensions
(3.5 mm hook +
8 ply/DK yarn)
|
Size
of DK + 3.5 mm hook version compared with Aran + 4 mm hook
(percentage)
|
Height of each doll
|
Approximately
29 cm / 11.5 inches
|
Approximately
20 cm / 8 inches
|
69-70%
|
Jacket dimensions
|
20 x 10 cm / 8 x 4 in
|
15 x 7.5 cm / 6 x 3 in
|
75%
|
I decided that the guitars would have a finished size of approximately 70% of those in the original pattern.
The tension of the original
pattern was :
14 sc & 12 rows = 10cm (4 inches).
14 sc & 12 rows = 10cm (4 inches).
From this we can calculate the size of stitches and rows and also the number of rows and stitches per cm/inch:
Original Pattern Tension
|
Centimetres
|
Inches
|
Stitch
tension
|
14 sc per
10 cm
|
14 sc per
4 inches
|
Stitch
size
|
10 cm ÷ 14
sc = 0.7142 cm
1 sc stitch = 0.71 cm
|
4” ÷ 14
sc = 0.2857 inches
1 sc stitch = 0.29 inches
|
Stitches (sc)
per cm/per inch
(stitch
size value is most accurate) |
14 sc ÷
10 cm = 1.4 sts/cm
or
1 cm ÷
0.71 cm = 1.41 sts/cm
rounds down to 1.4 sts/cm
|
14 sc ÷ 4”
= 3.5 sts/inch
or
1” ÷ 0.29”
= 3.4482 sts/inch
rounds up to 3.5 sts/inch
|
Row
tension
|
12 rows
per 10 cm
|
12 rows
per 4 inches
|
Row size
|
10 cm ÷
12 rows = 0.83333 cm
1 row = 0.833 cm
|
4” ÷ 12
rows = 0.3333 inches
1 row = 0.33 inches (⅓ inches)
|
Rows per
cm/per inch
|
12 rows ÷
10 cm = 1.2 rows/cm
or
1 cm ÷
0.833 cm = 1.2 rows/cm
|
12 rows ÷
4” = 3 rows/inch
or
1” ÷ 0.33”
= 3.03 rows/inch
rounds
down to 3 rows/inch
|
The important numbers have been
emphasised in bold. These are the numbers we will use to calculate the size of
the finished items in the original pattern.
 |
For most projects this difference is negligible but keep in mind that the bigger the scale of the project, the greater the difference in accuracy depending on which method is used.
|
Original Guitar Dimensions |
Centimetres |
Inches |
|
Body Width
(rows 2 & 3 = 11 sc) |
11 sc x
0.7142 cm = 7.8562 cm rounds up to 7.9 cm wide | 11 sc x
0.2857” = 3.1427 in. rounds down to 3.1” wide |
|
Body
length (10 rows) |
10 rows x
0.833cm = 8.3 cm long |
10 rows x
0.333” = 3.3” long |
|
Neck
width (4 rows) |
4 row x
0.833 cm = 3.332 cm rounds down to 3.3 cm wide |
4 rows x
0.333” = 1.332” rounds down to 1.3” wide |
|
Neck
length (19 sc) | 19 sc x
0.71 cm = 13.49 cm long | 19 x
0.29” = 5.51” long |
|
Guitar
strap (45 ch) |
45 sc x
0.71 cm = 31.95 cm long | 45 sc x
0.29” = 13.05” long |
Finding the right
size for the smaller version (70% of original pattern size)
|
||
Guitar Sections
|
Original guitar sizes (cm/inches)
|
My guitar sizes (cm/inches)
(70% or multiply by 0.7)
|
Body
width (11 sc)
|
7.9 cm /
3.1 inches wide
|
5.5 cm / 2.2
inches wide
|
Body
length (10 rows)
|
8.3 cm /
3.3 inches long
|
5.8 cm /
2.3 inches long
|
Neck
width (4 rows)
|
3.3 cm /
1.3 inches wide
|
2.3 cm /
0.9 inches wide
|
Neck
length (19 sc)
|
13.49 cm
/ 5.51 inches long
|
9.4 cm /
3.9 inches long
|
Neck
width (2 rows)†
|
1.66 cm /
0.66 inches wide†
|
1.16 cm /
0.46 inches wide†
|
Guitar
strap (45 ch)
|
32 cm /
13 inches long
|
22.4 cm /
9.1 inches long
|
The dimensions of the guitar neck are particularly useful because I need to cut template plastic to the correct size and insert it into each neck for strength.
† I calculated the neck width to
be the equivalent of the four rows in the pattern, but I had forgotten, until
it came to making up the guitar, that the long piece of crochet will be folded
lengthwise so the true width of each guitar neck will be equivalent to two rows
(1.66 cm/ 0.66 inches).
Working to these dimensions, my
guitar straps were 35 chains long instead of 45 chains. The electric bass has a
narrower and longer neck than the other guitars so I made that template 11.5 cm
long and 1 cm wide.
Working into the front loops only keeps the fabric flatter and thinner which makes
it easier to fold around the template plastic which was the same used for the
drums.
Soon I had three guitars in the
correct proportions to the Fab Four Dolls and they were only awaiting finishing
details such as strings, volume knobs and tuning pegs.
 |
| Guitar B |
 |
| Guitar C |
The notions cupboard had two different colours of shirring elastic: a
choice of red or black. I decided to
continue the neutral colour scheme and chose black.
 |
| Guitar A |
This method was used on all three
guitars. My excitement of getting to this stage was expressed with a photographic interlude. All of the guitars photographed at this stage of
the project are bare of tuning pegs and knobs.
Now for some seed beads. My dive
into the household bead stash was fruitless–every colour there except the white
that I wanted. I held different coloured
beads against the guitars but none were satisfactory. By this stage, it was
important to me that the neutral colour scheme be maintained because it would
have more impact against a coloured backdrop, especially a red, white and blue
one like the magazine’s photograph, or any plain solid colour for that matter.
Fortunately, my friend and fellow
crafter Adrienne* had a diverse collection of craft supplies. How convenient
that she was a neighbour too! I was very
grateful that she was generous with her time and her seed beads when her
evening was interrupted by my impromptu call for emergency beads!
Why is it we always need these
things when the shops are shut? Where do
these supplies disappear to when we were sure they were in the stash only last
week?
Luckily, Adrienne could spare the
perfect white seed beads to finish the guitars. (Thank you, Adrienne!)
We celebrated with another photo
shoot, matching each guitar to its musician. They looked great. Can you guess the name of each doll?
After all the photographic fun, the guitars were carefully stored away and the musicians were safely tucked in their beds (in the patchwork bag!) pending the next stage which literally was a stage for the band’s first public performance.
 |
| Mystery Musician A |
 |
| Mystery Musician B |
 |
| Mystery Musician C |
After all the photographic fun, the guitars were carefully stored away and the musicians were safely tucked in their beds (in the patchwork bag!) pending the next stage which literally was a stage for the band’s first public performance.
Weeks went by until I retrieved the Fab Four pieces and discovered a major problem:
This horrific sight was caused by
multiple factors over time while in storage.
The template plastic was too thin and weak to withstand the force of the shirring elastic.
Even though the shirring elastic was barely stretched at all, it still had enough potential energy to draw the ends of the guitar necks towards each other. The crocheted stitches around the guitar necks offered no support or resistance as the pull of the elastic compressed the crochet too.
The template plastic was too thin and weak to withstand the force of the shirring elastic.
Even though the shirring elastic was barely stretched at all, it still had enough potential energy to draw the ends of the guitar necks towards each other. The crocheted stitches around the guitar necks offered no support or resistance as the pull of the elastic compressed the crochet too.
What am I to do with these warped
wonders?
*Adrienne is pictured in:
- Petal Pullover: In Print: http://lupeyloops.blogspot.com.au/2013/06/petal-pullover-in-print.html
- Crochet, Connections & Companions with my Petal Pullover: http://lupeyloops.blogspot.com.au/2013/08/crochet-connections-companions-with-my.html
A link to Adrienne's crocheted tea
towels blog entry can be found in Tea Towel Party: http://lupeyloops.blogspot.com.au/2013/01/tea-towel-party.html
View Adrienne’s blog at http://mrsski71.blogspot.com.au/2013/01/crochet-love.html.
Crochet Today magazine: www.crochettoday.com
Monica Rodriguez Fuertes: links
to her Etsy and Facebook pages can be found on my Fab Four Designer Profile at http://lupeyloops.blogspot.com.au/2013/02/fab-four-designer-profile-monica.html
No comments:
Post a Comment