Pyroclastic flow

When you’re in the lobby of the karate school waiting for group class to start, you can’t knit lace with charts, or anything big, so I started a sock with a hemmed top from Shelridge Farm Soft Touch Ultra in Green Apple. I got this yarn at the 2007 Maryland Sheep and Wool festival. It is spun from worsted-carded fibre which makes it springy and soft, and the colour is perfect to balance the grey slushy outdoors. There’s a trend for sock patterns with arch shaping lately:

Pyroclastic socks.

I chose Pyroclastic, but I’ll mirror the cables on the second sock (k2tog instead of ssk). My socks have to mirror, even if the colours don’t match up. I tried alternating left and right cables and it didn’t look right. There is some biasing because of all the ssk decreases, I’m hoping it will even out after the heel.

There’s a cat off the top right of the photo, he was interested in the yarn and the cord of the needle. Didn’t bite anything, just sat, in the way, until I took his photo. Then he wandered off again.

5 thoughts on “Pyroclastic flow”

  1. My sock-knitting friend in the guild is totally obsessed with these socks, and I’m starting to come around myself. (Me and my always-knit-plain-socks issues.) Thanks for the list!

  2. Speaking of karate….

    Here are the notes I mentioned, going over what we talked about during the first kata class. Andrea wrote these up.

    So I decided to write down more detailed notes on Ben’s tips and thought you might like to have them. 🙂

    Kata Tips

    • Make each strike precise and distinct; know and look at what you are hitting. Look down the barrel of your punch. Each movement, each stance is important.

    • There are strikes that are hard and strikes that are snappy. Show that distinction.

    • Before you face a new attacker in your kata, turn and look at him.

    • Your attackers are the same height as you.

    • Give 100% effort to every part of your kata. Make observers feel your strikes so much that they flinch. Make them see the people attacking you. Make them see and hear you break their arm.

    • See your attackers. Focus on them instead of the people watching you.

    • Begin with a strong introduction that will make the judges want to watch your kata.

    o for underbelts: “Judges, representing Tracy’s Karate, my name is (name). My style is Chinese Kenpo. Today, with your permission, I will perform (kata). May I continue?”

    • It’s all about attitude. YOU have the best kata—the judges have never seen anything like what YOU are going to perform for them.

    • Appearance is important. Use anything that can give you an edge. For example, a blue belt girl could wear a blue ribbon in her hair. If two people had identical kata, the one who looked better would win.

    • Tempo is incredibly important. A kata has a certain rhythm—1 and 2 and 3…

    • Noise is important. A lower, more guttural sound is more forceful and realistic than a scream.

    • Don’t go the same tempo the entire time. There should be faster (but still distinct) parts as well as pauses for emphasis. Emphasize certain strikes more than others. More noise should be made on strikes than on blocks, and your “killing blows” should be the most emphasized.

    • Know what you are doing as you enter the ring. Judges don’t like to have to teach you what you have to do in the competition.

    • The judges probably won’t know your kata. They should be able to see exactly what you are doing, how you are being attacked, and what targets you are hitting.

    • You MUST know your kata inside and out.

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