Directions 2

This cap has an unusual construction because it was inspired by a macrame pattern in an old magazine. Hazel Furst THREE WOMEN’S PRAYER CAPS Here are designs for three lacy, feminine prayer caps to wear to synagogue. I designed these caps while I was planning for my youngest daughter’s Bat Mitzvah. It really helped to calm my nerves in the final weeks. Ironically, the head covering I actually wore to synagogue was something I did make but did not design. MOCK MACRAME CROCHETED PRAYER CAP  I had always loved the macrame pattern on which this cap was based, but never learned macrame. However, when I was poring through the magazine over 25 years later, I realized I now had the expertise to transform it into crochet. This pattern is quite a bit different than the original, but retains the same shape and lacy look. Materials: 1 ball #10 crochet cotton, 24 size 4mm beads or pearls to match, thin sewing thread of any color, sewing needle that will go through the beads, size 6 steel crochet hook, scissors, tape measure. Gauge: 10 sc equal 1” Level of difficulty: Intermediate  Special stitches: Purl single crochet (psc)- yarn in front of hook, insert hook in lp from back to front, yo and draw up a lp through to the back, yo and through both lps on hook. Bead single crochet- insert hook in stitch, yarn over hook and draw up a loop, push a bead up behind the work, yarn over and complete single crochet with bead. Double Knot stitch- sc, (draw up ip to 3/8”, ch 1 through long lp, sc in space between long lp and single strand behind lp)2X. Picot- ch 3, sl St in 1st ch. Thread beads on the crochet thread before beginning. (To do this easily, first thead them on thin sewing thread. Tie the Sewing thread onto the #10 crochet cotton, and then push the beads over onto the heavier thread. Detach and discard sewing thread. SECTION 1 ch 8, join to form ring. rnd 1- 12 sc in ring (WS). rnd 2- 2 sc in each sc (24 sc) spoke 1- row 1- working in front lps (this row only), sc in next 3 Sc, ch 1, turn. row 2- psc in each sc, ch 1, turn. row 3- sc in each sc, ch 1, turn. row 4- rep row 2. row 5- sc in 1st st, bead sc in next st, sc in last st, ch 1 1, turn. rows 6-7- rep rows 2 & 3 row 8- psc in each sc, end off. spokes 2-5- with WS still facing, skip 1 st on rnd 2, attach yarn in front lp of next st, rep rows 1-8 of spoke 1. spoke 6- follow directions for spokes 2-5, but do not end off after row 8. SECTION 2 sc in next 3 st, *ch 11, sc in next 3 sts in next spoke, rep from * around, ch 11, join to 1st sc, ch 1, turn. rnd 1(RS)- in back lps (this rnd only), sc in each st (84 sc). rnds 2-3- sc around, inc 3 evenly spaced sc around (to inc, 2 sc in sc). Join to 1st sc at the end of rnd 3 (87, 90 sc). rnd 4- sl st into next 3 ch, ch 1, double knot St in same st, *sk next 4 sc of rnd 3, double knot st in next sc, rep from * around, join to sc at beg of rnd, end off, turn (18 double knot sts). spokes (make 18)- row 1- with WS facing, 3 sc in center sc of any knot st, ch 1, turn. rows 2-8- follow directions for spokes in section 1. Do not end off on spoke 18. SECTION 3 sc in each st, *ch 7, 3 sc in next spoke, rep from * around, end with 7 Sc, join to 1st sc of rnd, ch 1, turn (180 sts). rnd 1 (RS)- working in back lps for this row only, sc in each st around. rnds 2-3- sci in each st, but inc 2 evenly spaces sts each rnd. For rnd 3, do not inc over inc in previous rnd. Do not turn. (182, 184 sc) rnd 4- ch 5 (counts as dc, ch 2), sk next sc, sc in next sc, ch 2, sk next sc, dc in next sc, ch 3. sk next 3 Sc, *dc in next sc, ch 2 sk next sc, sc in next sc, ch 2, sk next sc, dc in next sc, ch 3 sk next 3 sc, rep from * around, ending with ch 3, join to 3rd ch of starting ch 5. rnd 5- ch 6 (counts as dc, ch 3), dc in next dc, *ch 2, sc in next ch 3 lp of prey rnd, ch 2, dc in next dc, ch 3, dc in next dc, rep from * around, ending with ch 2, sc in last ch 3 lp of prev rnd, ch 2, join to 3rd ch of ch 6 at beg of rnd. rnd 6- ch 5, sc in next ch 3 lp of prey rnd, ch 2, *dc in next dc, ch 3, dc in next dc, ch 2 sc in next ch 3 lp of prev rnd, ch 2, rep from * around, ending with joinin to 3rd ch of starting ch 5 lp. rnd 7- rep rnd 5. rnd 8- ch 1, sk joining, sc in back lp of next 3 ch and next dc, *ch 3, sc in back lps of next dc, next 3 ch, and next dc, rep from * around, ending ch 3. (183 sts) rnd 9- sc in next 4 sc, *sc in back lp of next 3 ch, sc in next 5 sc, rep from * around, ending with sc in back lps of last 3 ch. rnd 10-11- sc in each sc around. rnd 12- *picot sl st in next 3 sts, rep from * around, join. To complete, weave in all ends. Approximate total stitches: 3842

IRISH CROCHET PRAYER CAP “Aaron Go Brag” Made of 7 rose motifs and 6 leaf motifs that are crocheted together this 1 3-motif cap would be perfect for a Bar or Bat Mitzvah. The outer rim has 18 loops. Whenever I can, I like to design using spiritually significant numbers. I got the idea for this cap, which was designed specifically for this book, from the shape of another head covering I had adapted from a beaded doily made with a center of seven (one surrounded by six) hexagonal motifs. All I had needed to do was to pull in the spaces between the outer motifs to make a curved cap shape instead of a flat surface. I decided to adapt the idea to Irish Crochet, using traditional rose and leaf motifs, and picot netting, but note that the spaces around the center motif form a Jewish star. This pretty three dimensional design looks beautiful in white or cream. To make the model extra special, I worked it up in DMC Cordonnet Special, a tightly woven shiny #10 cotton. Materials: 1 ball #10 crochet cotton, size 6 steel crochet hook, scissors, tape measure. Gauge: Diameter of rose (after round 4, from center of any petal to center of petal across from it) equals 1 1//2" Level of difficulty: Intermediate. LEAF Make 6 and set aside. The odd numbered rows are the right side of the work. row 1- ch 7, sc in 4th ch from hook, sc in last 3 ch, ch 3 going around other side of starting ch, sc in next 3 ch, ch 3, turn. row 2 (work entire row in front lp of each st)- sc in next 3 sc, sc in next ch, ch 3, sk I ch, sc in next ch, sc in next 3 ch, ch 3, turn. row 3 (work entire row in back lp of each st)- sc in next 4 sc, sc in next ch, ch 3 sk 1 ch, sc in next ch, sc in next 3 sc, ch 3, turn. row 4 (work entire row in front lp of each st)- sc in next 4 sc, sc in next ch, ch 3, sk next ch, sc in next ch, sc in next 3 sc, ch 3, turn. row 5-repeat row 3. row 6- repeat row 4. row 7 (work entire row in back lp of each st)- sc in next 4 sc, sc in next ch, sl St in next ch, end off. FIRST (CENTER) ROSE MOTIF ch 6, join to form ring. rnd 1- ch 5 [counts as dc, ch 3], (dc in ring, ch 3)5X, join to 2nd ch of starting ch 5. rnd 2- ch 1, sc in joining, *in next lp make 1 sc, 1 hdc, 5 dc, 1 hdc, 1 sc for petal, sc in next dc; repeat from * around, ending with 6th petal. rnd 3- (sc in next sc, ch 5)6X rnd 4- repeat md 2 except for starting ch 1. rnd 5- sl st into next hdc, ch 1, sc in same hdc, *picot lp [picot lp = ch 3, sc in 3rd ch fm hook for picot, ch 3], (sk next 2 dc, sc in next st, picot lp)2X, sc in next hdc, repeat from * around, ending with last lp as ch 3, sc in 3rd ch fm hook, dc in ~1st sc of rnd. (18 lps) rnd 6- sc in lp, *picot lp, sc in next lp on far side of picot of prev rnd; rep from * around, ending with last lp as ch 3, sch in 3rd ch fm hook, dc in 1st sc of rnd. rnd 7- sc in lp, * large picot lp [large picot lp = ch 4, sc in 3rd ch fm hook for picot, ch 3], sc in next lp on far side of picot of prev rnd, rep fm * around, ending with large picot lp, join to 1st sc of rnd, end off. SECOND ROSE MOTIF Work 1st motif through rnd 6. On rnd 7, always sc in a picot lp on the far side of the picot of the prev rnd, as before. rnd 7- ch 1, sc in lp. Hold st motif behind 2nd motif with wrong sides facing. Ch 2, sc into any picot of motif 1, ch 3, sc ifl next lp of motif 2, (ch 2, sc into next picot of motif 1, ch 3, sc in next lp of motif 2)2X, (large picot lp, sc in next lp)2X. Take a completed rose leaf and hold it behind 2nd motif with wrong sides facing and the tip of leaf pointing up. Ch 2, sc into bottom ch of leaf, ch 3, sc in next lp of rose motif, (ch 2, sc into next side picot of leaf, ch 3, sc in next lp of rose motif)3X, (lrg picot lp, sc in next lp)3X. Hold a second completed leaf behind work with wrong sides facing and leaf tip pointing up. Ch 2, sc in top side picot of leaf, ch 3, sc in next lp of rose motif Join leaf to motif over next 3 lps as before and complete motif with lrg picot l ps. End off THIRD-SIXTH MOTIFS Work 1st motif through rnd 6. On rnd 7, always sc in a picot lp on the far side of the picot of the prev rnd, as before. rnd 7- Position center motif behind new motif with wrong sides facing. Ch 2, sc into picot of 3rd lp from joining of center motif (to last motif worked), ch 3, sc in next lp of current motif, (ch 2, sc into picot of next lp on center motif, ch 3, sc in next lp of current motif)2X, (ch 2, sc in next picot of outer motif next to it, ch 3, sc in next lp of current motif)2X, ch 2, insert hook in bottom ch of rose leaf, yo and draw up a lp, insert hook in picot attached to bottom of rose leaf and draw up a 2nd lp, yo hook and through all 3 lps for a sc join st. Ch 3, sc in next lp of current motif, (ch 2, sc in next side picot of leaf, ch 3, sc in next lp of current motif)3X, (large picot lp, sc in next st)3X, ## join a new leaf to next 4 lps as before, large picot lp, sc in next lp, large picot lp, join to 1st sc of round, end off. SEVENTH MOTIF Follow instructions for 3rd-6th motifs through ## on round 7, then continue same instructions joining to leaf at the side of 2nd motif, complete motif and end off. FINISHING rnd 1- Join with ch to any leaf tip, sc in same leaf tip, *ch 10, sc in picot of next lp, ch 10, sk next picot lp, sc in picot of following picot lp, ch 10 sc in next leaf tip, rep from * around, ending with ch 10, join to sc in 1” leaf tip. (18 loops) rnd 2- ch 1,* in next lp sc, hdc, dc, 7 tr, dc, hdc, sc; rep from * around, join to 1st sc of rnd, end off. Weave in all ends. Approximate total stitches: 2842

BASKETWEAVE STAR PRAYER CAP  This is a ‘might midget “, at only about 958 stitches, and it works up very quickly because almost half of the stitches are chains or slip stitch joins. This pattern has great potential as a fundraising item for sisterhood gift shops. I give precise yardages for this cap so you can do a cost analysis if your sisterhood is considering this as a project. You can sell it and generate interest that will probably die out pretty quickly, or (with enough crocheters) you can market it and have continuing demand. Do this by matching the DMC colors to the yarmulkas you sell for Bar and Bat Mitzvahs, and show samples of completed caps trimmed in the yarmulka colors when you show the yarmulka samples. Even if one out of every 5 people give you a corresponding cap order, you’ll do well. You can also make this up in fashion colors for your temple, or make it for yourself to match a favorite outfit. Just remember that it sits on hair, so a black and white color combination may look really sharp, but won’t show up completely on most women’s heads. If I am the mother of this project, Annie Potter of Annie’s Attic in Texas has got to be the grandmother. She has had many patterns featuring the simple beauty of single crochet worked through the back loop, and she pioneered the idea of interlocking crocheted rings.. From there, it was just a short stretch to wrapping the yarn around three times to make a star of interlocking triangles. In earlier versions of this pattern, I had 2 closed triangles, but doing the second one was a nightmare! I came up with the idea of having an open triangle, and to have the joins on each triangle at a point where it would be hidden in the weave. Materials: 20 1/2 yds Speed-Cro-Sheen or Luster Sheen (A), 15 ½ yds (1 skein) of contrasting color DMC #3 perle cotton or corresponding metallic thread(B), and a 1 yard of same color as B in DMC #8 perle cotton or embroidery floss (use 3 strands). Steel crochet hooks sizes 00 and 6. Tapestry needle. Scissors. Tape measure. Note: Recommended metallic yarns- Found in fine knitting supply stores-No Smoking by Filatura di Crosa is a mulifilament metallic yarn that comes in beautiful colors and is very effective for B. For C, take a yard of this yarn and divide the filaments in half, and you will have enough C for 2 caps. Alexa by Vendome is thin, but works very well doubled for B and with a single strand for C. Gauge: With larger hook- 20 sts equal 3”. Exact gauge is not critical in this pattern, since the cap sits on top of the head and can be a little bigger or smaller than pictured. Level of difficulty: Beginner to intermediate Closed triangle: Work in back lp of each st except as directed. With A and larger hook ch 39 and join with sl st to form a ring. rnd 1: Ch 1, sc in joining ch, sc in each of next 3 ch, 5 sc in next ch, (sc in next 12 ch, 5 sc in next ch)2X, sc in last 8 ch, join with sl st through both lps, do not turn. rnd 2: Ch 1, sc in joining sc, sc in next 5 sc, (5 sc in next sc, sc in next 16 sc)2X, 5 sc in next sc, sc in last 10 Sc, join with sl st through both lps, end off rnd 3: Join B with ch 1 in back lp of joining sc, sc in next 7 sts, (5 sc in next sc, sC in next 20 sc)2X, 5 sc in next sc, sc in last 12 sc, join with sl St through both lps, end off. Weave in all ends. Open triangle: Work in back ips for all rows. With A and larger hook, ch 40, starting off with 6” of unworked thread. row 1: sc in 2nd ch from hook, sc in next 3 chs, (5 Sc in next ch, sc in next 12 chs)2X, 5 sc in next ch, sc in last 8 chs, end off. DO NOT TURN. row 2: Join A with ch 1 in 1st sc, sc in same st, sc in next 5 sc, (5 sc in next sc, sc in next 16 sc)2X, 5 sc in next sc, sc in last 10 sc, end off. DO NOT TURN. row 3: With B, join with ch 1 to 1st sc of last row, starting off with 2” of unworked thread. Sc in same st, sc in next 7 sc, (5 sc in next sc, sc in next 20 sc)2X, 5 sc in next sc, sc in last 12 sc, cut thread 2” from last st worked. Assemble star: Weave broken triangle under and over solid triangle to form a star, starting by hiding the joining under the solid triangle. Thread tapestry needle with 6” starting thread of broken triangle and sew rows 1 and 2 together. Tie Starting and ending threads of B together. Weave in all ends. Completing head covering: With A, join with ch 1 in back lp of 4th sc before center sc of any point on the star. rnd 1: Working in back lps all around, sc in same st as joining, ch 8, *sc in 4th sc after center sc of same point, ch 8, sc in 4th sc before center sc of next point, repeat from * around until there are 11 ch 8 lps, then sc in 4th sc after center of same point just worked and end with ch 4, tr in both lps of 1st sc of rnd. rnd 2: Sc in lp, (ch 10, sc in next lp)llX, ch 5, dtr in both lps of 1st sc of rnd. rnd 3: Sc in lp, (cli 8, sc in next lp) 1lX, ch 8, join to 1st sc of rnd, end off. rnd 4: With B, join with ch 1 in any lp. In same lp, sc, hdc, 6 dc, hdc, sc, (in next lp, sc, hdc, 6 dc, hdc, sc) 11X, join to 1st sc of rnd, end off, weave in all ends. Center mini-star: Use C and smaller hook (if using embroidery floss, use 3 strands) and work in the center hexagon made by the two triangles. With the right side facing, insert hook in Center lp of one side of the hexagon (this is the unworked lp of the starting ch) and join with ch 5 (counts as dc and ch 2). Dc in same lp. (In next side of hexagon, dc in center lp, ch 2, dc in same lp)5X. Join to 3rd ch of starting ch 5 to complete the mini-star. Weave in ends. Approximate total stitches: 958 ABBREVIATIONS beg beginning ch, chs chain, chains dc double crochet dtr double treble crochet (yarn over hook 3X) hdc half double crochet inc increase lp,lps loop, loops lrg large mm millimeter prey previous psc purl single crochet (see directions at beginning of pattern) rep repeat rnd round rs right side sc single crochet sk skip sl st slip stitch sp space st, sts stitch, stitches tr treble crochet (yarn over hook 2X) ws wrong side yo yarn over SYMBOLS ( )#X Repeat instructions within parentheses the number of times indicated. [ ] Explanation of previous direction,not additional directions. * Return to this point and repeat directions after this symbol ## Placemarker in directions; referred to later.  WASHING INSTRUCTIONS All three caps may be hand washed in cool water with mild soap. Liquid dishwashing detergent works very well.

This is the bread of our freedom. This is an intermediate to advanced project, designed and made by Elena Keen This is a matzah holder intended for everyday use, instead of a bread basket. It is simple to make, easily disassembled for laundering and storing and it’s compact. Made of washable cotton, stiffened with removable plastic canvas or cotton batting, it is still a representation of the month of Aviv, which is Spring. Because this is a celebration, I chose flowers and leaves for this project, to indicate renewed life. The theme of freedom. from slavery to personal freedom, from Egypt to Israel, runs deep in our psyche and in our prayers. During the year I was saying Kaddish for my dear departed mother, this was brought to me again and again during the daily services. I realized that it was also the story of how we, who started as a single family of nomads became a nation. Freedom is also the underlying story of my life. As a “hidden child” who was lucky enough to survive the Holocaust with her nuclear family intact, the fight for freedom from hate has been a major theme of who I am, what I do. So when I was asked to participate in this hook, it was naturally that I turned to the theme of Pesach. I already had an idea for a “matzah basket and so I decided to develop it further, making it accessible to most people. I was born in 1940 in Brasov, Rumania. Following the war, my family emigrated to Montevideo, Uruguay, where we had family members who sponsored us. In 1964, I again emigrated, this time to Canada, where my newly married sister had moved. I met my future husband in Toronto, shortly after the death of my dear father and married him a year later. We have lived in Ottawa, the Canadian capital, since 1973. We have two sons, the older one living in Tel Aviv, Israel and the younger one living in Toronto. Supplies —1 yd. unbleached muslin (44/45” wide) or oatmeal coloured or ecru linen or linen/cotton or cotton/ramie blends, or white-on white cotton. I yd. cotton batting —scraps of green fabric (for leaves) and pink, purple or red fabrics (for flowers) —1- l/3 yd. 1/8” wide ribbon, in colour matching the base fabric --shears for cutting fabric (or if you already have a rotary mat and cutter, this would do nicely). You’ll also need paper scissors and embroidery scissors. —measuring tape, or large plastic ruler, such as an Omnigrid© ruler (for rotary cutting) -pins, needles (for embroidery and/or machine sewing) —sewing machine in good working order (with straight and zigzag stitch), and with a foot for straight stitching and one for embroidery or an open-toed foot. --sewing machine and sewing machine embroidery needles. —1 box of matzah, unopened, to use as a pattern template. —1 washable fine line fabric marker or fabric pencil. —cotton thread for machine (matching the colour of your fabric), machine rayon embroidery threads (for machine appliquéing) in colours approximately matching your green and floral fabrics and in your background fabric colour (1 spool cotton embroidery thread; Mettler makes both a 40 and a 60 weight cotton machine embroidery thread), cotton embroidery floss, (DMC or Anchor 6-stranded floss -- light yellow and ochre). -light-weight paper-backed fusible web. You will need a 1 foot square piece, maximum, but buy the least amount you can purchase. A 6” long strip should do ( paper-backed fusible web comes in 22” widths.) Directions. -a) To open the matzah box and create your template use a sharp knife and slit both short sides and one long side seam around the top of the box. Open the flap and mark the plain side FRONT. Remove the matzahs and nibble on them as you work. Slit the side seams on the front of the box, mark the plain side TOP. Slit the short seams on each side and mark both flaps SIDE. What used to be the bottom of the matzah box should be marked BACK and what used to be the back of the matzah box should be marked BOTTOM. This is your pattern template. It should be a single cross shaped piece of cardboard that looks like the picture in the Gallery. -b)Pin together the muslin, batting and backing fabrics,place template on the fabric sandwich, trace around the entire template. Trace a 1/2" seam allowance around the entire template tracing. Cut out the traced pattern. Unpin the three layers. -c)Baste together the top fabric and the batting and treat as one piece. -d)For top (circular pattern ) on paper-backed fusible web, draw 16 leaves and 16 flowers( 8 flowers and 8 flowers reversed, see drawing); for sides of box (rectangular pattern): on paper-backed fusible web draw 22 leaves and 25 flowers, and 2 small leaves (see drawing). Draw all leaves together, then all flowers., you want them grouped in the most efficient manner possible. Cut the “leaves” portion of the fusible web and iron onto the wrong side of the green fabric. Iron “flowers” part onto the fabric you chose for the floral portion. Cut out leaves and put them in a safe place (i.e. an envelope), then do the same for the flowers. -e) For the stems of the designs, do a satin stitch or a top-stitching stitch on lid and sides, where indicated. Do the letters in satin stitch, or in top-stitching stitch. -f) Place leaves and flowers as per design and bond according to instructions on paper-backed fusible web. Satin stitch along the edge of leaves with green rayon thread and alone the edge of the flowers with a matching rayon thread, catching both background fabric and appliquéd piece. Taper the satin stitch on and off at corners.  -g)Hand embroider a stem stitch for the stamens of the flowers, with a single strand of light yellow floss, and make a French knot at the end of’ each stamen with a double strand of ochre floss A candlewicking knot may he used instead of the French knot, or even take several small stitches to form a small filled circle. -h)Once embroideries are all complete, place face down over a fluffy towel and press. -i) Place embroidered. piece and its lining right side to right side, sew with a scant 1/4” seam allowance, leaving an opening for turning. Cut excess fabric at corners (grade), to allow for sharp points and turn. Press.  -j)Run two straight stitched seams, 1/4” apart at each of the crease lines of the box. -k)Assemble the matzah box: Make 3 or four loops on each edge of the flaps of the box where the corners meet, by stitching across a piece of the ribbon, laid along the short edge, at the top, bottom and once or twice in between(a total of 8 sets) using the narrow ribbon. Tie 1/3 yd of the narrow ribbon to one of the bottom loops, and lace together with the facing loops, like lacing a shoe. This will close up the box corners. Your matzah box is complete. The whole box can be easily disassembled for laundering, by unlacing the sides. If you are ever unsure, refer to the Gallery picture. References. Any good basic embroidery book, such as Reader’s Digest Book of Needlework, will have the basic stitches used in this project. These stitches are all standard. To launder, open lacing on corners of box. Wash by hand or on gentle cycle. Dry flat. Press with embroideries face down onto a soft towel.

Title: A Yellow Star of David Artist: Ayelet Lindenstrauss Larsen The yellow Star of David which Jews had to wear under the Nazis was intended to represent a whole people-- a multitude of individuals. So I made it out of a fabric embroidered with people. The dark lines forming and surrounding the Star of David are superimposed on these people, obscuring many of them. It is hard to comprehend a catastrophe with six million victims. One can attempt to understand its effect on particular people, then mentally multiply the scale. But there is a risk of being so overwhelmed by the numbers that one cannot constantly remember that they count individual people, each with their own thoughts and feelings, who perished. ‘A Yellow Star of David’ was made to emphasize this fact, obvious yet truly difficult to grasp. The Holocaust was not one calamity but more than six million calamities. You cannot think of a whole people as one symbol, a star of plain yellow fabric; you cannot think of the death of its members abstractly. The black lines forming the Star of David, and those surrounding it with darkness, were made with a marker after the embroidery of the people in yellow was completed. Looking at the embroidered image, the placement of the lines seems arbitrary, with some people becoming completely obliterated by them, others half-hidden, yet others miraculously spared. I made this piece small, on a scale with the original yellow stars the Jews had to wear. But it would work well on a larger scale—— even a much larger scale, say a wall hanging on 14 mesh canvas, worked as a group project where each group member embroiders one or more people. Whatever the size of the canvas, the piece should be large enough to portray many people, each different, standing together- at least a hundred, say. This number is still of a totally different order of magnitude than the number of victims, but large enough for the image to be perceived simultaneously as a crowd of people and as a collection of individuals. Skill Level: Advanced Basic Reference on Canvas Embroidery, if Needed: The Needlepoint Book, Jo Ippolito Christensen, Fireside Books 1999 Materials List: (The list assumes you will be working on the same scale I did- if you plan to work larger, the sizes of the gauze, muslin, paper, cardboard, and needles, and also the fiber quantities (if a much bigger scale is planned), should be adjusted appropriately) - Ruler — Compass (which can draw a circle as big as you want the project to be. If you want a really large version, a ‘compass’ can be made by tying sewing thread to a long pin and to a pencil) — Pencil - 1-2 sheets of paper (e.g. from a notebook or pad) - Tape — Rectangular piece of cardboard at least 8” long on each side — Iron and ironing board - Scissors: for cutting fabric and for cutting embroidery thread - Square of 42 mesh silk gauze, 8” by 8” — Square of muslin or any other inexpensive woven fabric, 18” by 18” — Sewing needle (or sewing machine) and sewing thread — Tapestry needles, size #26 or #28: at least 6 so you can keep a few thread colors ready to use - Sharp-pointed embroidery needles (e.g. #9 crewel needles) : at least 2 — Embroidery hoop of radius 12” or more (or other sort of frame) ‘‘The Marvy Fabric Marker’’ #622 in black. — Embroidery thread: You will need small amounts of many colors. Scraps are great. I used stranded embroidery floss, #8 pearl cotton, and flower thread. Using threads from different manufacturers gives you a greater variety of yellows, beiges, browns, and skintones. But if you do not have a lot of scraps, buying a skein of DMC stranded floss in each of the following colors will give you a sufficient range: Women’s dresses— yellows #307, #444. #445, #725, #726, #727, #743, #744, #745, #973, #3078, #3822. Men’s shirts— white, ecru, and beiges #543, #712, #739, #3047. Men’s pants— light tans #437, #612, #613, #738, #834, #3821, #3822. Faces, arms, and legs— skin tones #945, #950, #951, #3773, #3774, #3779. Hair— browns #420, #433, #434, #801, #838, #839, #869; coppers #301, #780, #781, #782; light tan #422; light grays #318, #415, #648. Shoes- browns used for hair, and also dull grays #414, #611, #642. Eyes— browns used for hair, grays used for shoes, and also greens #581, #3052; blues #334, #931. Again, none of these particular shades are essential; the most important ranges to have a lot of colors in are the yellows, and to a lesser extent the beiges, the light tans, and the skin tones. Different dye lots of the same color sometimes look quite different, and floss and pearl cotton of the same brand and same color number do look quite different because of the different way they reflect light. I used cotton almost exclusively; if you plan to use other fibers, stitch a small sample and try marking over it with the marker you intend to use— wool in particular seems a little too springy to accept the color of the marker I used. Instructions: 1. Use the compass to draw a circle of diameter of about 5 1/2” (so radius of about 2 3/4”) on the paper; if you plan to baste in step 4 below, don’t change the radius of the compass and draw an identical circle on your second sheet. In any case, don’t change the radius of the compass before step 2. 2. Take one of the sheets of paper you made in step 1, and draw a perfectly balanced Star of David inscribed in the circle you have on it. The key to making a perfectly balanced Star of David is the six petalled daisy children draw when they first get compasses— place your compass point on the edge of a circle (where the compass is still set to the radius you used to make the circle) , and draw the arc of the circle around it which lies inside the original circle. This will mark out two new points at the edge of the circle. Repeat the procedure for them, and you will get two new points. Repeat the procedure for them, and you will get one new point, diametrically opposite the one you started from. Repeat the procedure for it, and you will get the six-petalled daisy. The Star of David is formed by connecting the points at the end of the daisy’s petals, in two sets of threes. If the daisy turns out perfect, your measuring is completely accurate; if it’s nearly perfect, the Star of David should still look balanced; if the daisy looks very messy, with arcs overlapping where they shouldn’t and points failing to meet by nontrivial distances, it would be better to try again. Save the sheet of paper with the Star of David for step 7. 3. Sew the gauze into the center of the muslin— iron both, center the gauze on the muslin, making sure that both layers are flat, and then sew all around the gauze, about 1/4” from its edge. Then cut out the muslin from behind the gauze, about 1/8” from your seam (so about 3/8’ from the edge of the gauze). Finally, overcast the resulting edge either by hand or by a wide zigzag stitch on the machine. 4. Center the circle you have drawn in step 1 behind the gauze, and either trace it with a pencil to the gauze, or baste it. Basting will hold up better. If you want to baste, make sure you have the copy of the circle, which does not have the Star of David. Use sewing thread to sew the paper to the gauze along the edge of the circle. When you are done, tie both ends of the thread together firmly, and tear away the paper. 5. Stretch the gauze and muslin in the embroidery hoop, making sure that the hoop doesn’t crumple any part of the gauze. 6. Fill the interior of the circle with people. Composition Notes: The figures should go all the way up to the edge of the circle; some gauze will be left uncovered in between them, of course, but any space large enough to fit an extra person should contain one. I did not use perspective, and made all the people on the same scale. This is partly because they are all of equal importance, and partly because I did not want any visual illusions distorting the regularity of the Star of David. The people are all variations on the basic woman, man, girl, and boy patterns, but it was very important to me that no two of them should be identical, so each of them is a bit shorter, taller, thinner, or wider than the pattern. I also varied the lengths and shapes of the sleeves, collars, and skirts. I sometimes broke down the satin stitches along the middle of a figure to emphasize a central seam or closure on a shirt or dress, and sometimes broke down the stitches in skirts to indicate pleats. And, of course, I varied the colors. The figures were worked from the bottom of the circle upwards. I started by stitching a row of people of varying heights along the bottom edge of the circle. People in subsequent rows stick out of the row in front of them to varying degrees— anything from just a head to practically the whole body. This way, the rows are not too straight. I never worked a person before working all the people who stand in front of him or her, since the compensations would have been confusing to keep track of.

Color Notes: The piece is intended to read from a distance as yellow. Put the piece in progress across the room from you and check periodically to make sure that this is the effect you are getting. I did not want to have the men wear yellow because men usually do not; the white and beige shirts I used instead blend into the yellow effect very easily. The tan pants can interrupt it if they are too dark, which is why I used light tans, and occasionally had to undo pants I had worked in tans which looked too dark for where they were. Anything you could describe as a brown is too dark. The really dark browns and other colors, used for hair, eyes, and shoes, appear in such small amounts they do not interfere with the yellow effect- they just make it seem a little ‘‘busy’’ . To emphasize the yellows, I had unintentionally embroidered more women and girls than men and boys, but I was trying to have equal amounts of both. In placing the yellow dresses, be sure to vary the shades in each area, placing pastel yellow, mustard, and warm gold next to lemon yellow, etc. Viewing the piece from across the room will tell you if you are mixing the shades well. If an area is stitched in a color that does not look right, undo it. Stitch Notes: The people were all stitched in horizontal satin stitches, following the contour of the figure. To add variation, I sometimes broke up the satin stitches (e.g. along an imagined seam line on a garment) to add more internal detail. I used three strands of embroidery floss, or one strand of #8 pearl cotton, or one strand of flower thread for these satin stitches. The flower thread is thinner than the other two, but since the colors were light it looked okay. Whenever I finished a particular area, I secured the thread and cut it off. This is important since the gauze does not end up completely covered, and you do not want threads trailing on the back which might show on the front. The eyes are small vertical stitches over approximately 2 canvas threads which effectively couch down one of the horizontal stitches forming the face. It is probably easiest to work them while stitching the face, but I did them all in the end (in fact after doing the hair, when the faces had taken their final shape) and it worked out fine, too. To give me more flexibility in placing them, I used the sharp-pointed embroidery needle, and a slightly thinner thread (2 strands of embroidery floss or one of flower thread) The hair was worked only after a figure, and all the figures surrounding it, were completed, and like the eyes as made with thinner thread and a sharp-pointed needle. Most of the hair is done very simply, in straight or split stitch, just indicating the desired lines or filling the desired area; for curly hair I used French knots and bullion knots. I did not add mouths, since the figures seemed complete once I had stitched their eyes, but they could certainly be added if desired. 7. Center the Star of David from step 2 on the cardboard, and tape it down, making sure that if you hold the rectangle straight in front of you, the star is placed so that one of its points is at the top (i.e. that if you look at the cardboard the usual way, the Star of David will be oriented in the usual way) . Use a bright color to highlight the six points of the star. 8. Take the embroidery out of the frame, iron the wrinkles in the muslin, and use sewing thread to stretch it over the cardboard in a way that the circle you have outlined on the gauze sits exactly on top of the circle drawn on the paper, with the top of the embroidery lying exactly on the top point of the Star of David. Make sure you see all six points of the star through the gauze. If you don’t, lift the gauze gently, figure out where the point should lie, and stitch one stitch with sewing thread to mark that point. You want to be able to look at the gauze and know exactly where all six points of the Star of David you will draw on it should lie. The stretching in this stage is purely for holding the embroidery down in the right place. If you prefer to achieve it by stapling (through the muslin, not through the gauze) or by taping (on part of the muslin which will eventually be cut off) you can. Before framing, the embroidery will be separated from the cardboard. 9. Using the permanent fabric marker and the six points you have marked clearly, draw a Star of David on your embroidery, pressing evenly as you go, and of course using a ruler. Since the marker is permanent, you may want to practice drawing Stars of David on the right scale, with ruler, marked points, and the marker on paper or plain fabric before you draw on your embroidery. The marker ink does not soak all the way through the embroidery threads, but it covers the surface well. 10. Now darken all the area outside your Star of David using the marker- both the stitched and unstitched parts of the gauze. Use only horizontal strokes, and many of them— you are basically trying to cover the area, though on my piece I thought that a few naturally-occurring thin gaps look okay. Be sure to concentrate when you do this— you certainly do not want to darken an area inside the Star of David by accident. Once finished, let the marker dry for 15 minutes and remove the embroidery from the card. If you had the circle outline basted onto your gauze, pick out the basting thread. 11. The piece can now be framed. I displayed the whole gauze area except for the edges where the muslin showed through, i.e. an area of about 7” by 7” (but measure before you get a mat cut to that size! )

RITA LIPSHUTZ I was born in Milwaukee, Wisconsin, now living in Woodland Hills, California for the past 42 years. Graduated from the University of Wisconsin with a B.A. in Speech Therapy. Married for 46 years with 3 children and 7 grandchildren. Taught 2nd, 3rd, and 4th grade. Did Graduate work in Educational Psychology. Past Chairperson of the San Fernando Valley - United Jewish Fund Women’s Divisions. Past Co-Founder of the Soviet Jewry Committee of the San Fernando Valley. Past Member of the Jewish Federation Board of Directors. Member of Temple Valley Beth Shalom Sisterhood Board. Handcraft Chairperson of Women’s League for Conservative Judaism. Member of Board of Women’s League for Conservative Judaism. Directed 3 Needlework projects for Temple Valley Beth Shalom. Brought the Pomegranate Guild of Judaic Needlework to the West Coast in 1981. Past President of the San Fernando Valley Chapter of the Pomegranate Guild of Judaic Needlework. Past National President of the Pomegranate Guild of Judaic Needlework. Designed and Co-Founded the Finegood Art Galley of the Jewish Federation Council in the West Valley Bernard Milken Jewish Community Campus, 12 years ago. Past Chairperson of the Finegood Art Gallery and current Curator. Member of the Board of Director of the Finegood Art Council. Recipient of the Golda Award of El Caballero Country Club Women’s Division-United Jewish Fund. Currently teaching classes in Tallit Making at Synagogues and Brandeis University Women Board Member of Brandeis University Women- San Fernando Valley Branch Docent at Skirball Cultural Center Indoor Mezuzah Artist’s name Bronwen Cohen Distributed by Rishfeld Designs Stitched by Rita Lipshutz This mazuzah is created as an heirloom for children or grandchildren. It is special and unique in that it contains amulets of good luck including meaningful symbols: a pyramid, star of David, the name of God, temple columns, plus the recipients initial. This was originally taught to our Pomegranate group as an amulet to be worn around the neck. However, I decided that it would make a beautiful mazuzah. It is a simple project containing lots of love. Material’s List Number 14 count Aida cloth DMC Embroidery Floss -6 stranded floss {use 2 strands} Number 8 braid gold Balger Back with Aida and cardboard or velvet or any decorative fabric of your choice, leaving a slit in the back for inserting a Kosher prayer, Scissors, Needle, Masking tape to bind edges, Measuring tape. Directions Using 2 strands of embroidery floss start with the Pomegranate in the right hand corner. Refer to the legend of symbols for colors, however, please feel free to change to colors of your own personal choice. I used a leather strap and beads sold in craft stores to be used in the top (for hanging on a small nail) and bottom (only for decoration). A popular place for hanging these is bedrooms. Finishing Fold back the extra Aida cloth and glue down with a glue gun over a piece of cardboard for more body. Take a narrower piece of Aida cloth and glue it to the back on top of the Aida that is there for the pocket for the prayer. Be sure to make a small slit in this second piece of Aida cloth for the prayer. Skill/Experience Level Easy INDOOR MAZUZAH  Use # 14 Aida Cloth 2 strands of DMC Embroidery Floss unless otherwise indicated. X Outer Green Border DMC Rayon # 30909 O Inner Lite Blue Border # 747 > Pomegranates # 304 . Stems # 369 < Crown Balger Metallic Multicolored Thread <> Hamsa # 973 Backstitch around Hamsa # 3828 ^ Shaddai DMC multicolormetallic thread H 275 Star of David Mix Balger Silver # 8 braid and 1 strand Floss # 820 Backing is Purple Felt. However, any fabric you wish to use would be fine. Simply turn back the Aida cloth and sew to the turned under backing leaving about 1” on the center of the top to insert the Mazuzah Prayer.

Instructions for Making Paper Pieced Dreidel Potholders By Ellen Manson Supplies: 1/4 yard each of 2 contrasting fabrics, light and dark 1/4 yard of fabric for binding 1/4 yard silver heat resistant ironing board fabric 1/4 yard all cotton batting sewing machine needle thread scissors glue stick Photocopy as many foundation patterns as needed for your project or trace the pattern onto paper or plain muslin. When copying by machine, remember you can reduce or increase the size using the machine’s settings. Example: a row of small dreidels would make an adorable border for a wall hanging or kitchen towels. An enlarged pattern could be used with the colors written on each piece of the pattern or swatches attached, so you will reach for the correct color when sewing. Trim the pattern block, leaving a 1/4" seam allowance. All sewing is done with the printed side of the foundation paper facing up. Always use fabric pieces at least ½” larger than the pattern. Use a #80/12 or 90/14 sewing machine needle. Set your machine to 15 stitches per inch.(close stitches make more perforations and it is easier to tear away the paper.) Begin and end stitching a few stitches past the seam intersections. Always begin with patch #1. Using a glue stick, lightly glue the wrong side of fabric patch #1 to the reverse (unprinted ) side of the foundation. Hold up to a light source to make sure the fabric is centered over patch #1 and that there is at least a 1/4" seam allowance on all edges. Place the right side of patch #2 over #1, align patches along the seam line between #1 and #2 (line 1-2). Holding the two patches in place with your fingerw, flip over the paper and carefully sew exactly on LINE 1-2. Finger press or iron each patch open after it is sewn. Trim excess seam allowance if necessary. Continue sewing on patches in numerical order until the block is covered. With the fabric wrong side facing down, trim the entire block to a 1/4" seam allowance. Square up your block so all sides are straight and all corners are 90 degree angles. The paper may be removed at this time. Gently tear away. It is similar to tearing stamps apart. Lightly dampening the paper may help. When using a muslin foundation, the muslin does not need to be removed. Cut a square the, size of your dreidel block, from the silver heat resistant fabric.  Cut out two squares, the size of your dreidel block, of all cotton batting.  DO NOT USE POLYESTER BATTING, it could MELT! Sandwich the 4 layers in the following order: silver fabric, wrong side up, two layers of batting,and dreidel block, right side up. Pin the edges and baste all the way around the edges within the 1/4" seam allowance. Stitch in the ditch around the dreidel, which will secure the batting. Adding a French fold binding- Bind the block in the following order: (using the block patch numbers to identify the edges) Side 1( 4-3-7), Side 2( 7-8), Side 3( 8-6) and Side 4( 6-2-4). This will place the hanging loop on the corner directly above the top of the dreidel. Cut one strip of fabric 2 ¼” wide by the length of Side 1. Iron it down the center, lengthwise, wrong sides together, so you have a long, narrow strip. Place it on the edge of the sandwich, all raw edges lined up, the fold facing in towards the center of the block. Sew, being careful not to sew over the points where the edge of the dreidel touches the side of the block. Turn and whipstitch by hand to the back. Repeat for Side 2 and Side3. Side 4-Cut a strip of fabric 2 ¼” wide by the length of Side 4 PLUS 4”. Do as previously directed until you reach the upper point of the dreidel block. Continue to whipstitch the binding closed past the sandwich to create a loop, turning under the raw end. Give the loop a twist and tack down to the back of the binding. Display proudly in your kitchen.

The Challah cover was designed and executed by Constance R. Pallas This project is a Challah Cover knitted from #10 Crochet Cotton and backed with velvet. Because of its size, it is meant for use in ceremonial occasions — I intend to recreate it for my son’s Bar Mitzvah. By using a smaller piece of backing material, it would be suitable for a family Shabbos table. It has the Star of David in the center and Hamotzi knitted in using eyelets around the outside. I’ve also included a chart for the entire Alephbet in eyelets so that you can create our own heirlooms. The Challah cover contains 39,486 knitted stitches.

Background: When I first read about the project in the Bits and Pieces, I was intrigued. For me it was a more tangible way to commemorate those people who died in the Holocaust. To gather enough people together to create 6 million stitches was a daunting task and I wanted to be part of it. My first question to myself was, what type of project should I do. I can cross-stitch and needlepoint but they are not my favorite needlework activities. However, I knit and crochet constantly. My sons are always losing their Kippot. My next question to myself was what should I knit or crochet. I love art, but I wanted this piece to be used on a regular basis. One of my most treasured pieces is a Challah Cover a friend embroidered for my wedding. When it is used each week, it reminds me of how precious friends and family are. It has been said, “more than the Jews have kept Shabbos, Shabbos has kept the Jews”. By keeping one day separate from the hustle and bustle of the outside world, we can make time for rest, for learning, and for sharing with friends and family. My piece was created to honor and remember those families lost in the Holocaust. I chose this as my contribution because I feel that one of the strengths of the Jewish people is our commitment to family and learning. By keeping our traditions, we remain strong.

Project Instructions: The Challah Cover is recommended for Intermediate knitters with Chart reading experience. Materials: 2 balls of Knit-Cro-Sheen or #10 Crochet Cotton 1 set of #1 DP Needles 116” #1 Needle Or size needed to obtain gauge. Approximately 1 1/4 yards, backing material Optional: 1 1/4 yards, lining material Sewing thread which matches Crochet Cotton Sewing thread which matches backing material Crochet hook or needle to weave in ends. Gauge:9 stitches/inch 12 rows/inch

Cast on 6 stitches Join in circle Row 1:Knit Row 2:Knit Row 3: (Knit 1, yo) 6 times (12 stitches in the round) Row 4:Knit Row 5:Knit Row 6: (Knit 1, yo, Knit I, yo) 6 times (24 stitches in the round) Row 7: Knit Row 8: Knit Row 9: (Place marker, Knit 1, yo, Knit 3, yo) (6 Sections, each with stitches in the round) Row 10:Knit Row 11:Knit Row 12:(slip marker, knit 1, yo, knit 5, yo) 6 times (48 stitches in round) Row 13:Knit Row 14:Knit Row 15: (slip marker, knit 1, yo, knit until next marker, yo) 6 times 6 stitches for 36 Repeat last 3 rows until you have 20 stitches between the markers. Follow Chart 1 to shape the points of the star. Each row in Chart 1 is done 6 times. You now have 54 stitches between the markers. Follow Charts for Hamotzi. Each section uses a separate chart. You now have 80 stitches between markers. Follow Chart for Border. Each row in Chart for Border is done 6 times. Bind off loosely. Weave in any ends. Blocking Block Challah cover as follows: Wash cover in a mild detergent — I use dishwashing liquid. Spread the cover on a large area covered with a towel. Lay the challah cover so that it is stretched as far as possible and pin the edges making sure that the cover is pinned symmetrically. Alternatively, thread blocking wires along each of the 6 edges and pin the wires. Finishing When the Challah cover is dry, measure the diameter of the cover from 1 point, through the center to the opposite point. Cut a square piece of backing material at least 12 inches wider than this measurement. If you are not planning to line the backing, hem the edges of the backing material. Center the Challah cover on the backing material. If you are planning to line the backing, cut a piece of lining material the same size as the backing material. Using sewing thread which matches the knitting thread, attach the Challah cover to the backing material by a small overcast stitch along the outside border of the knitting. Tack the Challah cover to the backing in the center of the knitting. Place the lining material on the Challah cover such that the right sides are facing. Sew the lining to the backing material with a ½ inch seam on three sides and on ¾ of the fourth side. Turn the lining and challah cover right side out. Invisibly stitch the unsewn length. Carefully iron the lining.

Please remember to donate $1.00 for each set of directions you copy to the United States Holocaust Memorial Museum in memory of Rita Lenkin Hawkins. The United States Holocaust Memorial Museum's address is http://www.ushmm.org/ Go to the lower right corner and click on Join and Donate. Thank you.