Ravelry

My email was hacked, (the SOB), anyway...Ravelry has blocked me now.

This was my Favorite hang out.

Guess I'll just blog now and yack to myself.

I do belong to some really good yahoo groups.
ThreadAddicts are great, chat along with threadwork crochet. I like it there. some really talented people.

Christina at Celtwich is awesome! She has really preserved a great family history with cherished vintage patterns.

CrochetPartners and KnitList are the best resource anywhere.

Unique Groups are Woollythoughts and Multidirectional. Really interesting knitting and crochet. The techniques used expand beyond the box and explore with a different perspective towards knitting and crochet projects. These aree both mainly knitting, but Woollythoughts includes adaptions for crochet also.

Sandra Petit at CrochetCabana is an awesome lady. When I first learned to navigate internet this was the first place I found connected with my love for crochet. Her charity work is incredible. It's always connected with her work.

I follow Teresa at Crochet Mania on You Tube and Facebook, she's got a pretty good Blog too. She's an incredibly talented lady, very versatile.

Megan Mills also has an interesting way of working with crochet, and KrochetKrystal is fantastic with her Flower afghans for charity.

I've been working alot on my projects. I've started the Blue Horizons Afghan from "200 Crochet Blocks" by Jan Eaton. I love, love, love this book. There are corrections but you can find them at Interweave Press.

I finished up a couple of wristers, 1 is crochet and the other is garter stitch.

I've got a Mr Bean Bear (for myself!) and another Teddy Bear called Mohair Bear for my youngest Grandson Gunnar (this was a Revelry project).

A couple of doilies hanging around - always - to me they are so relaxing. There's really no way that you can't slow down a bit and enjoy working thread lace.

No pics today, I'll catch up eventually.

later for now...

I Forgot

Oh yeah, I forgot:

Capetka - russian charted doily

Mr. Bean bear

From Square to Eternity afghan

I also have a very good idea of how to arrange the fishy afghan using a square design i got from Eleanor Kent.

Time to Get Organized

Of course I’m interested in all the ideas going around from looking at patterns and yarns, my bookshelf…you know what I mean!?! And I want to start something else!! I’m am absolutely Nuts.

sooo…

I’m looking around at the stuff I’ve got started and what a mess!

I decided to make a list of everything.

WIPs:
Allie’s sweater for school
Mini Muk Luks
Morning Mood Doily - Magic Crochet, June 1988, No 54
Green Autumn Mittens - Vogue Knitting, Fall 2008
Fishy Afghan
Reversible Double Thick Afghan
Double-Knit Teapot Potholder
Twined Sampler Hat - Vogue Knitting International, Holiday 1988
Vests for all the Family,sz lg - Good Needlework Second Gift-Book, Vintage c.1938
Community Crochet Helmet Hat - Out of Print Pattern
Goysa Doily 2009ss-45
Floral Embroidery Needlework piece - no longer available

Plus:
Scan 120 yrs worth of Family Pics
Reading “Dream Stuff” by David Malouf

Well, when I started making the mini muk-luks she has a “Magic Book” that she keeps her ideas in 1 place. Kind of like at Ravelry, but at Ravelry I always get interested in the chatter and conversations going on, then I get inspired with fresh new ideas and I’m lost again!

In my mind I’ve made some of the most wonderful projects – yeah – right.
If I was able to work everything that I have in mind then I’d probably live to be 100 yrs old!

My plan is to mark off what I’ve worked on each day. Then when a project is finished the list should be shorter. The new ideas I get will just have to get recorded in my Ravelry Notebook.

How does that sound?

It’s a plan anyway.

Today, I sent off a starter crochet set for my daughter Bonnie who lives in Texas.
That is a Great feeling and a lot of love went with it.

I read 2 chapters from the book I’m reading.

I worked on the Morning Mood Doily. This has about 4 more rounds. It will probably be the biggest doily I’ve made so far. It’s supposed to be worked with yarn. Oh how yuck! Blah. I’m using some sz 5 thread that I’ve had for about 5 yrs now. That’s one of those balls of thread that was on sale and you know what that means…can’t pass up a bargain!

Tomorrow I will check off my list what I’ve actually worked on. Just to keep myself in check!

Offline

I've been offline so long that I think I forgot how to blog anymore.
I've updated my yahoo groups and then ravelry, now back to blogging....
What a mess!
I'll have to get this blog updated or at least start posting again.

Summer

I will be offline for the summer.
My father has passed away.
I'll try to get back in the fall.

Crochet Rooster

I stayed up late last night working on a Crocheted Rooster that was first published in "The Workbasket", Volume 14, 2967 August 1949, Number 11.

As far as I can find, this is not under any copyright law.

It's designed to be worked with size 30 thread and a size 12 steel crochet hook. Well, I've had my eye on this pattern for awhile. I found the project from a reveler then found the Workbasket issue at ebay. I really got a deal on the set of Workbasket booklets! 20 issues for around $5. with free shipping. I've had these since last fall but just now getting around to making the Rooster.

I'm using a red mohair and a size H/5.00mm hook! Yes... it's a tall Rooster! It's already 9" without the legs but I plan to felt it and use it in the kitchen.

Here's the scanned pattern with the copyright info that I've found:

Copyright Term and the Public Domain in the United States
1 January 20091
PDF http://www.copyright.cornell.edu/public_domain/
Works First Published in the U.S.
Date of Publication6
Conditions7
Copyright Term3

1923 through 1977 Published without a copyright notice None. In the public domain due to failure to comply with required formalities


Notes
1. This chart was first published in Peter B. Hirtle, "Recent Changes To The Copyright Law: Copyright Term Extension," Archival Outlook, January/February 1999. This version is current as of 1 January 2009. The most recent version is found at http://www.copyright.cornell.edu/public_domain/. The chart is based in part on Laura N. Gasaway's chart, "When Works Pass Into the Public Domain," at , and similar charts found in Marie C. Malaro, A Legal Primer On Managing Museum Collections (Washington, D.C.: Smithsonian Institution Press, 1998): 155-156. A useful copyright duration chart by Mary Minow, organized by year, is found at . A "flow chart" for copyright duration is found at . See also Library of Congress Copyright Office. Circular 15a, Duration of Copyright: Provisions of the Law Dealing with the Length of Copyright Protection (Washington, D.C.: Library of Congress, 2004) .
2. Treat unpublished works registered for copyright prior to 1978 as if they had been published in the US (though note that the only formality that applied was the requirement to renew copyright after 28 years). Unpublished works registered for copyright since 1978 can be considered as if they were an "Unpublished, Unregistered Work."
3. All terms of copyright run through the end of the calendar year in which they would otherwise expire, so a work enters the public domain on the first of the year following the expiration of its copyright term. For example, a book published on 15 March 1923 will enter the public domain on 1 January 2019, not 16 March 2018 (1923+95=2018).
4. Unpublished works when the death date of the author is not known may still be copyrighted after 120 years, but certification from the Copyright Office that it has no record to indicate whether the person is living or died less than 70 years before is a complete defense to any action for infringement. See 17 U.S.C. § 302(e).
5. Presumption as to the author's death requires a certified report from the Copyright Office that its records disclose nothing to indicate that the author of the work is living or died less than seventy years before.
6. "Publication" was not explicitly defined in the Copyright Law before 1976, but the 1909 Act indirectly indicated that publication was when copies of the first authorized edition were placed on sale, sold, or publicly distributed by the proprietor of the copyright or under his authority.
7. Not all published works are copyrighted. Works prepared by an officer or employee of the United States Government as part of that person's official duties receive no copyright protection in the US. For much of the twentieth century, certain formalities had to be followed to secure copyright protection. For example, some books had to be printed in the United States to receive copyright protection, and failure to deposit copies of works with the Register of Copyright could result in the loss of copyright. The requirements that copies include a formal notice of copyright and that the copyright be renewed after twenty eight years were the most common conditions, and are specified in the chart.
8. A 1961 Copyright Office study found that fewer than 15% of all registered copyrights were renewed. For books, the figure was even lower: 7%. See Barbara Ringer, "Study No. 31: Renewal of Copyright" (1960), reprinted in Library of Congress Copyright Office. Copyright law revision: Studies prepared for the Subcommittee on Patents, Trademarks, and Copyrights of the Committee on the Judiciary, United States Senate, Eighty-sixth Congress, first [-second] session. (Washington: U. S. Govt. Print. Off, 1961), p. 220. A good guide to investigating the copyright and renewal status of published work is Samuel Demas and Jennie L. Brogdon, "Determining Copyright Status for Preservation and Access: Defining Reasonable Effort," Library Resources and Technical Services 41:4 (October, 1997): 323-334. See also Library of Congress Copyright Office, How to investigate the copyright status of a work. Circular 22. [Washington, D.C.: Library of Congress, Copyright Office, 2004]. The Online Books Page FAQ, especially "How Can I Tell Whether a Book Can Go Online?" and "How Can I Tell Whether a Copyright Was Renewed?", is also very helpful.
9. The following section on foreign publications draws extensively on Stephen Fishman, The Public Domain: How to Find Copyright-free Writings, Music, Art & More. (Berkeley: Nolo.com, 2004). It applies to works first published abroad and not subsequently published in the US within 30 days of the original foreign publication. Works that were simultaneously published abroad and in the US are treated as if they are American publications.
10. Foreign works published after 1923 are likely to be still under copyright in the US because of the Uruguay Round Agreements Act (URAA) modifying the General Agreement on Tariffs and Trade (GATT). The URAA restored copyright in foreign works that as of 1 January 1996 had fallen into the public domain in the US because of a failure to comply with US formalities. One of the authors of the work had to be a non-US citizen or resident, the work could not have been published in the US within 30 days after its publication abroad, and the work needed to still be in copyright in the country of publication. Such works have a copyright term equivalent to that of an American work that had followed all of the formalities. For more information, see Library of Congress Copyright Office, Highlights of Copyright Amendments Contained in the Uruguay Round Agreements Act (URAA). Circular 38b. [Washington, D.C.: Library of Congress, Copyright Office, 2004].
11. US formalities include the requirement that a formal notice of copyright be included in the work; registration, renewal, and deposit of copies in the Copyright Office; and the manufacture of the work in the US.
12. The differing dates is a product of the question of controversial Twin Books v. Walt Disney Co. decision by the 9th Circuit Court of Appeals in 1996. The question at issue is the copyright status of a work only published in a foreign language outside of the United States and without a copyright notice. It had long been assumed that failure to comply with US formalities placed these works in the public domain in the US and, as such, were subject to copyright restoration under URAA (see note 10). The court in Twin Books, however, concluded "publication without a copyright notice in a foreign country did not put the work in the public domain in the United States." According to the court, these foreign publications were in effect "unpublished" in the US, and hence have the same copyright term as unpublished works. The decision has been harshly criticized in Nimmer on Copyright, the leading treatise on copyright, as being incompatible with previous decisions and the intent of Congress when it restored foreign copyrights. The Copyright Office as well ignores the Twin Books decision in its circular on restored copyrights. Nevertheless, the decision is currently applicable in all of the 9th Judicial Circuit (Alaska, Arizona, California, Hawaii, Idaho, Montana, Nevada, Oregon, Washington, and Guam and the Northern Mariana Islands), and it may apply in the rest of the country.
13. See Library of Congress Copyright Office, International Copyright Relations of the United States. Circular 38a. [Washington, D.C.: Library of Congress, Copyright Office, 2004].
14. See 63 Fed. Reg.19,287 (1998), Library of Congress Copyright Office, Copyright Restoration of Works in Accordance With the Uruguay Round Agreements Act; List Identifying Copyrights Restored Under the Uruguay Round Agreements Act for Which Notices of Intent To Enforce Restored Copyrights Were Filed in the Copyright Office.
15. Copyright notice requirements for sound recordings are spelled out in the Copyright Office’s Circular 3, “Copyright Notice,” available at http://www.copyright.gov/circs/circ03.html. Here is the exact text:
The copyright notice for phonorecords embodying a sound recording is different from that for other works. Sound recordings are defined as “works that result from the fixation of a series of musical, spoken or other sounds, but not including the sounds accompanying a motion picture or other audiovisual work.” Copyright in a sound recording protects the particular series of sounds fixed in the recording against unauthorized reproduction, revision, and distribution. This copyright is distinct from copyright of the musical, literary, or dramatic work that may be recorded on the phonorecord. Phonorecords may be records (such as LPs and 45s), audio tapes, cassettes, or disks. The notice should contain the following three elements appearing together on the phonorecord:
1. The symbol ; and
2. The year of first publication of the sound recording; and
3. The name of the owner of copyright in the sound recording, or an abbreviation by which the name can be recognized, or a generally known alternative designation of the owner. If the producer of the sound recording is named on the phonorecord label or container and if no other name appears in conjunction with the notice, the producer’s name shall be considered a part of the notice.
4. Example: 2004 X.Y.Z. Records, Inc.
16. Architectural works are defined as “the design of a building as embodied in any tangible medium of expression, including a building, architectural plans, or drawings. The work includes the overall form as well as the arrangement and composition of spaces and elements in the design, but does not include individual standard features.” Architectural works were expressly included in copyright by Title VII of Pub. L. 101–650.
17. What constitutes “publication” of a building is a very interesting question. As the Copyright Office has noted, “A work is considered published when underlying copies of the building design are distributed or made available public by sale or other transfer of ownership, or by rental. Construction of a building does not itself constitute publication registration, unless multiple copies are constructed.” See its Circular 41, “Copyright Claims in Architectural Works,” available at http://www.copyright.gov/circs/circ41.html.
18. On 19 August 1954, Laos signed the Universal Copyright Convention (UCC) affording its citizens copyright protection in the US. It has not signed any other multinational copyright convention.
19. Turkmenistan and Uzbekistan may have inherited UCC obligations and protections from the USSR, which joined the UCC on 27 May 1973. See Peter B. Maggs, “Post-Soviet Law: The Case of Intellectual Property Law,” The Harriman Institute Forum 5, no. 3 (November 1991). They have not as yet, however, filed a “Notification of Succession” with the UCC. See http://portal.unesco.org/culture/en/ev.php-URL_ID=1814&URL_DO=DO_TOPIC&URL_SECTION=201.html for signatories to the two UCC treaties.
20. If the source country’s first adhered to either the Berne Treaty or the WTO after 1 January 1996, then the relevant date is the earliest date of membership.

© 2004-9 Peter B. Hirtle. Last updated 5 January, 2009. Use of this chart is governed by the Creative Commons Attribution-NonCommercial License 3.0 In addition, permission is granted for non-profit educational use, including
but not limited to reserves and coursepacks made by for-profit copyshops.
Cornell Copyright Information Center

http://www.copyright.cornell.edu/public_domain/

Today

Been having a rough time with my parents. My father’s health is very low. His body is in the process of shutting down. Very precious time now.
My mother is waay out. Her whole world has turned upside down and it’s really having a horrible affect on her. Anger, depression, denial, a bit of alzheimer’s….
It’s scary to be around her anymore.

I’ve been keeping my hooks and needles busy. Stress relievers!

I’ve finally worked up the Daisy Charity square that I owe Krochet Krystal. It came out really nice. I’ll have to make a couple of afghans for my grand-daughters.



I’ve got a little dolly on the needles and it’s coming out cute! I found the pattern at Canadian Living from a Ravelry link. I really like how it’s turning out. Quick and easy.

I’m turning in for the night.