Lobster Plush

This year focuses on designs that play with color and shapes, and it gets roughly more complicated as the month progresses. A large portion of these designs I figured out myself. :D

I was planning to have a 3D project this year but these prompts turned out rather intensive and the year itself turned out, ah, eventful. So I decided to stick to straightforward design prompts and save my larger projects for another year. Stay strong 3D project, you will have your day.

[Recap post]

Days 1-2: Slide clasp

Days 3-4: Six-string designs

Days 5-6: Herringbone

Day 7-8: Weaving/4+ string braid

Day 9-10: Square weave

Day 11-12: Macro zigzag

Day 13-14: Macro zigzag intersections

Day 15-16: Mambo braid

Day 17-18: Buttons

Day 19-20: Switchback and Figure-8 (Intermission)

Day 21-22: Wide macro zigzag

Day 23-24: Square designs

Day 25-26: Quick turns

Day 27-28: Wide macro zigzag intersections

Days 29-30: Diamond decor

Aaaaand done with Macre-May 2026!

While not actually a lace technique, you can get a lacy kind of look by going between alternating squares and square knot sequences on a wide zigzag:

^Circles are alternating square, dashes are square sequences. Pink triangles are zigzag turns.

The square knot sequences are different lengths to force them to be non-parallel:

While the above is the basic concept, you can get really creative with variations:

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Calculating cord length:

Calculating cord was way more complicated than I thought. At each zigzag turn all the cords flip, so one cord can interact with a project like this:

^The blue cord is a base cord and moves straight through the square sequences and section B. But in section A the cord interacts like an alternating knot.

Cord that doesn't have zigzag bends in it's path does not flip. And because the square sequences are different lengths, the angles of the turns are not guaranteed to be at right angles and the project can have multiple cord path PLs to juggle.

Complicated enough: I ignored the switch method completely.

So to plan a project, first draw out a diagram and mark the spots where the cords flip:

^This is a simple design where all the turns line up, but a more complicated design may look like this:

You'll also want a diagram of the knots in an intersection, so you can see the paths of each cord. It doesn't have to be pretty! Here's my scratch notes for planning a project like the above:

Then:

-Give each color path a PL. A path you expect to have right angles follows the Pythagorean theorem, and steeper paths are longer. Here, a 'color path' is two strings folded over to make four cords, which form their own square knot sequence when those separate out.

-Give each PL standard square sequence cord lengths (3+1PL). Alternating square (2+2PL) may be used if the cord is alternating squares the whole way.

-Adjust the ratio of the cord lengths. This is where it gets really tricky. The string itself stays at 4PL total, and starting with 3:1 you shift the lengths towards 2:2 depending on the amount of time the cords spends as alternating square. Having your two diagrams helps a lot.

But remember how the cord flips at zigzag turns?

This color path has two base cords that take turns acting like alternating squares. So when adjusting the cord lengths, act like the cords are interacting with half the alternating squares they pass through.

The adjustment period can be more complicated than this (See: in my sample project, the middle path has alternating squares on both sides, but only half the time...) BUT! When in doubt just overcut the cord and have leftovers when you're done. You don't have to play cord length gymnastics like me.

Connecting points:

For my projects I tied off the start and finish, no clasp, and let the elasticity of the zigzag allow my hand to pass through.

I found it was easiest to start each color path separately and tie them together further down the project. The connection points don't have to line up with each other, but each color path has to complete their own pattern.

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Lark's head knot placeholder method:

If you want to start a square knot sequence without an overhand knot to hold the cord in place, try this technique:

Use a scrap of cord to make a temporary lark's head knot at the point where a string transitions from base to outer cord.

Rather than making a knot and then correcting the lengths on a ruler, measure the length of one side, put a tight lark's head knot on the spot, and then there's no adjusting after the first knot!

I discovered this method while building so many square knot sequences and tbh I wish I had thought of it sooner. Pro strats!!

(Macre-May Prompt list)

Pictures under the cut:

Specifically, having the base cords pop in and out of a series of diamonds for some extra flair!

^(Sorry about the pic quality, I had to take some in poor lighting. u_u)

Technically you could also use the outer cords in decor, but a base cord would have to switch roles to outer cord for a bit which would make cord length calculations a hassle. And the coloring would be weird, unless the entire project was one color. So I'm focusing on base cords!

Basic designs:

While there's a lot of options for exit/entry points, I try to keep them a full square knot away from zigzag turns and intersections, for sturdiness.

Cords can also enter/exit on the top and bottom surface of the square knots- you can have the decor all on one side (like the example in the first pic), or mix it up if you're feeling adventurous. Point is, be aware that it is an option.

Larger diamonds can hold more complicated designs:

^This type of diagram has two base cord colors, pink and blue. I've made each color have two shades to differentiate the two cords of each color.

While one base cord is out the diamond's square knots have a single base cord. For this reason only one base cord can leave at a time.

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Cord switch designs and uneven lengths:

^Subtle arrows added to show the direction the cord is moving.

...These designs could use outer cords for decor. Color Switch designs are where a cord that is exiting is immediately replaced with another cord, without a section of one-base-cord.

Uneven Length designs are asymmetrical so the cords in the decor have an uneven path length. Most of the above are uneven, except the upper right.

Here's a more complicated Uneven-Length design, not in the diagram above:

One pair of base cords pass through both of the zigzag turns, while the other skips the turns and becomes outer cords for a bit. I built this design and found having four cords entering and exiting at once makes a bit of a traffic jam, so I made open squares at those points.

A way to make an Uneven Length equal is to have the design repeat in a series, where the base cords take turns on the two paths:

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Wide diamond decor:

An alternating square of at least two full square knots wide allows you to pull two cords out of the sides for decor. The Alternating square becomes one-and-a-half knots wide for a bit.

Always use pointy turn, as weave turns will add the cords back on the wrong side of the alt squares.

Also take care to add the cords back in the same order they left the alt square, lest they switch places and mess up the cord length usage.

^In these diagrams, dark blue and pink cords exit first and return last.

In retrospect, looking back at this diagram, the notch marks are a simplification as cords exit the bottom of knots and enter the top. Also, unlike basic diamond decor, the cords are able to enter/exit at the turn corners at the sides as there's no weave. There should be notch marks there too.

(Sadly, I didn't have the time to build a sample of wide diamonds with decor to see how the design would handle.)

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Cord path diagrams:

When planning a project, take the time to mark down the paths of each base cord. It helps A LOT to avoid problems and when calculating cord length. (Base cords tended to need more cord than I expected, especially when adding slide clasps. Outer cord is the same length as a regular diamond design.)

^From left to right: empty diagram, base cord paths in a diamond without decor, and two diagrams I used to plan my decor sample. I also marked the spots where the cord re-entered on the far side of the other base cord.

(Macre-May Prompt list)

Post is long enough, pictures under the cut:

Of course if I can add an alternating square to a macro zigzag to make it wide I would try it with intersections:

A chunky diamond shape! There's nothing revolutionary about this but I have some strategies one might use to pull off this bad boy.

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Starters:

^With and without a hole at the start, for whatever your clasp/button needs.

Tying off the end:

^An extended and condensed version, to fine-tune the overall project length. Note how half the cords are the same length in the two styles, close to the large intersection. Cut the other half of the cords longer when planning your project, as they pass through an extra intersection.

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Using pointy vs. weave turns:

The different turn types affect the overall shape and cord/color path. Pointy turns will also use more cord than weave turns.

Also, remember how weave turns require weird cord length due to the 'gap' in square knots?

Intersections also act like a gap so wide diamonds will require cord length adjustments whether the turns are pointy or weave. Weave turn style diamonds have twice the gaps as pointy and will need stronger adjustments.

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I made this sample to show off how color moves through the different types of turns, and also to play around with intersections.

I used the starter without the button hole:

(And accidentally cut the cord in a way that made me use lark's head knots on the tip. Oh well, that's what they're for.)

Example of weaving an intersection, bc why not:

^Weaves really do look like a mess every time until you stabilize them with the square knots on the other side.

I tried to use a different style for each intersection:

That last one is hard to see especially since it's right next to the ending. Here's a look at what those cords are doing:

^The outermost cords twist over the weave of the rest of the cords. The two other colors twist on the opposite side of the weave.

I wasn't planning on this sample being a bracelet but it ended up the correct length. So I used the cord leftovers to make two braids:

The braids can loop through the hole of the starting diamond and clasp into the loops of the last intersection.

I thought up this design at the end of the first Macre-May and I wanted to see how the concept would turn out. It's like a pointy turn but it changes direction at every row:

Although all the knots are sideways the overall project shape is pretty straight. So for this design the PL stated is for the overall project length rather than cord path length, unlike most zigzag designs.

(Two types of PL explained in this post, if you need it)

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There's three general paths the cord can follow in a project:

A) Straight through- this cord forms no knots and has the shortest length. 1.25 PL, maybe rounded up? (I haven't tested it)

B) Standard path- the most common path with the longest length. 3.25PL

C) Switch path- If you cap the turns with the switch method, then two cords on each side have a mix of the straight and standard path. 2.25PL

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Quick turns can have many styles of color depending on whether you use the switch method and how you configure the colors in the starter:

^Starts with lark's head knots

^Starts with square knots

Here's what a square knot starter would look like, for style 4 specifically:

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The sample I made was a mix of styles 2 and 4:

This style and starter:

^It starts with square knots like style 4, but the loops at the top connecting yellow and green make those colors act like styles 1 and 2.

And I used the switch method so I could see what that looks like beyond a snippet of diagram.

^The starter, and the sample:

Look at that ending cord length difference! I actually started with all cords the same length so I could see how different the paths ended up. Each color had one long cord and one short.

A macro zigzag goes between one left and one right turn, back and forth. But if you make two left then two right turns it makes a chunky square shape:

You can make it with weave turns but for this post I focused on pointy, and how the straight sections in between the turns affect the project.

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But first, let's talk about the corner switch method:

^In shorthand diagrams it's denoted by a circle on the corner of a turn. (You can see them in the last post, too.) This denotes a spot where the two outermost cords switch places.

Now usually these outermost cords are one string, folded at the start. Without the switch method the lengths would be distributed: 3PL in to 1PL and 2PL. But with switches in even intervals the cords get used equally and the 3PL is distributed in half, 1.5PL x2.

Benefits: stronger corners, easier to distribute the cord lengths (fold in half rather than measure), shorter cords are easier to tie knots with, and it's harder to accidentally run out of cord if one cord is being eaten up faster for some unexpected reason. And, as seen in the next post on Quick turns, it can have a more direct affect on shape and color.

But in order to make those outer cords equal the switches need to be at equal intervals. Consider the next three Square designs, with two diagrams each.

On the left is a color diagram, showing that each color uses the same amount of cord in one interval of turns. The number of circles are the same whether on the side or the center, each time. Pretty cool.

On the right however it shows the distance between switches, measured in complete open square loops on the side.

^With this design there's equal distance between switches- 5 loops long, both in the U-turn and the straightaway. The switch method fits well and the string can be folded equally in half.

^Here the distance is uneven, 10 loops versus 6. If you want to use the switch method it will be something like 1.3 and 1.7PL?

Also note here that changing the length of the overall project adds loops on both sides, keeping the distance even. It's changing the width of the project that makes the loops uneven.

^In this design a second turn is started before all the knots are finished in the first pointy turn. Since the width is shortened, the switch spots are uneven. But here's another strategy to try- putting a switch on only one corner makes the distance equal again. (Although at this point you may as well just skip the switches lol)

(Macre-May Prompt list)

Pictures under the cut:

WMZZ for short. Basically it's applying a macro zigzag turn to an alternating square knot rather than a single square knot sequence:

And I came up with two methods!

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Weave turn:

This is the first method I came up with- weaving the turn like the original macro zigzag method but at a larger scale.

It works but it came up with several problems. As I've said before wide weaves are tricky to deal with; the weave cuts the corner off the turn weakening the zigzag shape; and the design goes through cord at a slightly different rate than a regular alternating square knot.

Overall I kinda think it's a bit more effort than the design's worth but it should be acknowledged for it's style, and also because it handles color in a different way than the second turn method.

Taking a step back to how the cord length differs from an alternating knot, there's a phenomenon here that appears in more than just the weave turn. If you were to un-weave the turn and lay the project straight, it may look something like this:

^The weave sections are like open squares- a 'gap,' so to speak, capped on both ends with a square knot. On the right I've labelled the rows of square knots, with two configurations, A and B, depending on if the row has all square knots (A) or the two open square loops on the sides (B).

Regular alternating square knots have an equal number of A and B rows. Each cord generally switches equally between the roles of base and outer cord. But weaves are always capped with an A row for structure with no B row between them, so certain cords spend more time in one role.

On the diagram on the bottom I wrote the length in PL for a regular alternating square, and the adjustments on each cord for if there's a gap. Make the cord longer (+) or shorter (-), adjusting more or less depending on the number of gaps in the project as a whole.

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Pointy turn:

The second turn method I came up with; it fixes the problems I had with the weave- it's easy and fast, pointy, and goes through cord evenly- same as an alternating square. (At least it does if there's an equal number of left and right turns.)

To build a pointy turn, start building the rows of knots incomplete, at a diagonal. When you're at the point where the row has one knot, turn the project and start building knots with the new orientation. Increase the number of knots per row at a diagonal, mirroring the first half of the turn.

^A view of the knot orientation (left), and a shorthand diagram for pointy turns (right). The shorthand diagram matches the turn like this:

There's an impression of circles in the alternating square, and the diagram follows that.

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I made two samples, to test the weave and pointy turns and see if they worked. The weave ended up like this:

^There's a longer section of alternating square in between each weave, which I built once I realized a short alt section makes it look like a wrinkly straight project :/

Here's the process for one of the weave turns:

uh oh

^Tightening the weave by tugging on the loops

^securing the weave by building the square knots, tightening the weave the whole time.

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The pointy turn sample came out way more satisfactory. So pointy! So uniform! So much less struggle!

Here's the process for a pointy turn:

^Building the rows down at a diagonal and turning the project

^Building knots in the new orientation

^Mirror the diagonal of the first half until you have a full row

These are really easy basic designs that I put in to take a break from the advanced designs. They're a little bit of flair you can put in the middle of a square knot sequence:

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Switchback:

Simply bring the outer cords in and start using them like base cords, while the base cords then become the outer cords. Changes the color of the square knot sequence on either side, if applicable.

Adding a switchback changes the cord length. If each cord pair takes turns and spends equal time as base or outer cord, then the initial two strings folded over should be cut to the same length, whether they start the project as base or outer cords.

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Figure-8:

A design I came up with inspired by the switchback: the outer cords switch sides but remain outer cords. Like a fancy open square. While the square knots on either side do not change color, you do get a flash of the base cord color.

It's notably less sturdy than a switchback though, and prone to twisting. Make sure to use stiff cord with this design, something that holds it's shape.

Uses cord like a large open square.

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Pictures!

Here's a sample with three switchbacks and two figure-8s:

^Note the symmetry. The yellow and blue cords are used evenly.

And even if you're not playing around with color, they're nice to add just for the sparkle:

^(A bracelet I made a long time ago; the switchbacks are tighter than I would do today)

I kludge buttons! I'm not an expert! Here's what I know!

^General setup: At the end of a project (A), place a button (B) with some form of knot/spacer (C) between them. This creates space for the beginning/buttonhole (D) to be in between the project and the button.

I like to add buttons using either the base cords OR outer cords, but not both. So in this post there always will be two buttoning cords interacting with the button.

Types of buttons:

A+B: Most buttons have 2 or 4 holes that allow the buttoning cord on the top. Actual button shape can vary widely. My diagrams use this style.

C: Shank buttons have no hole on the top, and both buttoning cords can pass through the loop, or shank, on the bottom. The shank gives these buttons a natural spacer, but you'll still want to make the spacer thicker by adding a knot.

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Spacers:

While you can add a button in the middle of a square knot sequence, the spacer itself can be enough structure to hold the button in place by itself:

Fyi These diagrams are loose so you can see the cord but the space between the project and button should only be as high as the spacer. The spacer knot should be built while the button is at the correct distance- close, but not completely flush.

Square knot spacer:

^The buttoning cord is the base cords going towards the button and the outer cords coming away. It's not a proper buttoning method but it has its benefits. A more official method would be a couple of half-hitch loops:

^Once again the cords leaving the button are used as outer cords but this time they loop around the base cords, then pass through the loop they created. It's harder to see on the diagram on the right but the cord is doing the same half-hitch as the one in the center diagram, just looping in the opposite direction.

You can also secure a button over a square knot using the same pull through method as this other post:

You can create the spacer knot in two places:

^1. Before the buttoning cord gets pulled through.

2. After the pull through, but before the next square knot. If you create a half-hitch here it will be upside down from the earlier diagram:

^The cord passes below the loop instead of above.

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Button vs. buttonhole spacing

There's two things to be aware of when choosing where to place a button: buttonhole location and project color pattern.

^If the buttonhole is at the intersection of the project the button's spacer should be built above an intersection as well. Choose an intersection where the color pattern continues when the two sides meet.

^If the diamond itself is being used as the buttonhole, the button's spacer has to be built floating in the middle of the diamond. Diamonds that overlap should have the same color pattern.

Mambo braid buttons:

Same idea, more complicated. oopmfh.

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Bonus buttonhole:

I didn't have a better place to put this diagram,,, This is an alternating square knot buttonhole. The size of the hole can be customized by how many center square knots you skip before bringing the sides back together.

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Here's two example of buttons I've added.

1: Macro zigzag diamond:

The diamonds were used as buttonholes so I floated the spacer. Base cords were used as buttoning cords, one cord from each zigzag. Note the matching outer cord color patterns btw.

^The buttoning cords moved in opposite directions, switching places while tying the button in the center. I used a square knot spacer.

^Poor diagram because I forgot to draw it earlier,, the cords switched sides like this.

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2: Mambo braid:

First I built the braid until the colors lined up with the buttonhole:

Added the button using the outer cords as buttoning cords, with the pull-through method:

Then the buttoning cords came up between the base cords before tying two half hitches:

Tightening the spacer knot, the button looked like this:

Finished button, top and bottom:

You can 'braid' three (or more) colors by arranging the intersections like so:

Starters:

^Basic starter left, and button-hole starter right. Two colors start at a loop, and the third color gets added a bit later with a lark's head knot.

With the button-hole starter the hole should be sized to fit the button chosen for the project. Increase or decrease the number of square knots that make up the sides of the hole.

Here's a clearer view of where the cords start:

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Cord Extension

At this point it should be mentioned that if you have a project that requires very long cord, it is a handy strategy to cut the cord shorter than you need and add on to it later.

Like with the macro zigzag the project will go through cord like a square knot- 3PL outer cord and 1PL base cord. If you decide to make a longer project to show off the braid the outer cords can become unwieldy.

If you plan on extending the cord during the project not only is the cord length easier to manage but you can wing the cord length measurement, see how far it got you, and use that to have a better idea on how much more cord to cut to get you to the actual end of the project.

When I built my mambo braid sample I cut the initial three outer cords at very different lengths so there would be some distance between extension spots. For stability. Base cords, being shorter than outer cords, I cut enough to not have to extend them.

I explain extending cord here.

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Adding slide clasps

This was supposed to be in the zigzag intersections post but 1, that post was long enough and 2, the same concepts could be applied to the mambo braid.

Here's a closer look:

(Finally drew the bead correctly with the overhand knot lol)

You could also try a double sided slide clasp like so:

For the record I haven't actually tried these slide clasp methods yet but I plan to try the single-sided slide for a post's sample later this year.

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So I built this necklace-length braid:

^Three outer cord colors, one color for all base cords. All the intersections are 'layered' style to give the impression that one color is on top. The mambo braid's wide structure stops the twisting effect that comes with the layered intersections, so it was a good choice.

It started with a square knot starter with loops:

Because the base cords were the same color I kinda didn't need the loops but it did help me start the square knots in the correct place, so.

^Getting the spacing correct for the button I chose, and then building onward to the braid itself:

If you connect two Macro Zigzags together you get a cool diamond design:

^Blue is square knot sequences, pink is a zigzag-style turns and tan is the intersections.

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You can get creative with these intersections, but here are some basics:

^Standard weave intersection on the left, layered intersection on the right.

^Extended weave intersection. While the above two have their cords switch sides, with this one you continue weaving until the cords are back on the side they entered from.

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Here are some starters that get the colors in the correct configuration:

^Square knot starters on the left, lark's head knots on the right. The center loop allows the base cords of the two sides to be different colors.

(These starters can be applied to other macrame designs that need their colors arranged like so.)

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First sample I built had the layered intersections:

(Pro tip: if you have all the layered intersections crossing over in the same direction, the whole project will slowly twist. Watch out!)

Then I built this sample with the standard weave intersections in contrasting colors for visibility:

This one has different colored outer cords so you can see them change sides:

And this one has extended weave intersections:

I used the square knot starter with the loops to arrange the four colors. Here's what that process looks like:

Note how one side stays purple/red and the other stays blue/yellow:

This is the first prompt this year of my own design, and the basis of a lot of upcoming prompts.

^The series of turns creates a large zigzag shape.

(There's another more official macrame technique called the zigzag and it gets dibs on the name. I'll get to it another year.)

^Diagram shorthand.

This is the first design where the cords don't take a direct path from start to finish. There's two ways to define the length of projects like this:

-The path of macrame cords, good for calculating cord length needed

-Overall length, for if a project needs to be a specific size, such as making sure bracelets fit.

For the overall length to be the same as other projects the Macro Zigzag would have to have a much longer cord path length.

Luckily with all those right angles you can use the Pythagorean Theorem to go between the two types of length. So say you need a bracelet that's 7in. long, 7^2 is roughly 5^2 + 5^2. You would have to cut cord like the bracelet is 5+5, or 10in. long. (And remember, my 'PL' length would be longer than that.)

The Macro Zigzag goes through cord at about the same rate as a sequence of square knots, so cut two cords- 2PL and 6PL, both folded in half. Just use the longer PL.

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The turn itself is built like a tiny weave:

^All cords start their weave by folding under the next cord. (Or, all of them fold over.)

In these weave spots you get a peek at the base cords giving the project a pop of color. The turns can look different based on which way the weave is started:

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When I first came up with this design I used some scraps to see if it works and I made this lil skrankle baby:

So cutes

With that bangin' success I went on to make this necklace:

The endings were simply tied together and can't come apart. The necklace was built big enough to go over the head and the zigzag gives it an elastic affect.

I really like this design. It's simple fast and easy.

Found this design online; it's a mix of herringbone and weaving:

Unlike with braiding, the square knots keep the weave from unraveling and the overall project is slightly more symmetrical. It's a way of getting that wide braid look without forever adjusting a wide weave.

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Adding a knot:

^Weave to the center, tighten the cord above the weave's edge by tugging the cord's turn, and make half a square knot to hold the weave in place.

^Tighten the cord after the turn and finish the square knot. It's easy to over-tighten the cords if the weave is loose. Tugging the other cords both tightens the weave and spaces the new cord properly.

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As a sample I made a slide clasp bracelet with five strings:

(If you look closely one side is wider than the other because the weave is looser. But it's not too bad because the width of both sides is consistent.)

Adding the first square knots:

Once you're done with one square knot for each color the edge of the weave will be about as wide as it will be for the rest of the project. Take a moment at this point to adjust these first loops. The weave tends to be loose at the start. You can loosen and re-tighten square knots to adjust the cord.

Adding a square knot:

Tying off the square weave:

Okay. Look. The ending was supposed to be like herringbone with a series of overhand knots, but in practice overhand knots take a lot of space and five knots in a row would have over-extended the ending.

So I decided to build two of the knots side by side instead.

^Shitty fast diagram of what the overhand knots were doing. Godspeed.

Finishing up:

Weaving may be basic but I'm going to be integrating weaves into a lot of future designs so I want to get us on the same page. If I'm overexplaining, well, it's an excuse for me to draw some choice diagrams.

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Starting a 4 string braid:

Line up your cords in a flat row. Start weaving the cords over and under each other starting from the center until you've integrated all the cords. Take turns left and right.

Actually braiding:

^Eventually you end up doing these two steps until you're finished. Take the outermost cord and weave it to the center. With an even number of cords, one side always starts with going over the cord next to it and the other side starts by going under.

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When you add more strings, you still start weaving in the center and the process starts to take this shape:

Kinda like an arrow pointing downwards. As you add more cords the weave gets harder to manage and wants to unravel. (It wants to unravel so bad) I've found this shape is the most stable.

If we draw the above more simply:

You just keep weaving the outermost cord inwards to the center.

Make sure to tighten the cords while you work. Slack in the string makes a weave bunch up. But the cords need to be tightened in a special way:

-A cord that has been recently weaved to the center will always stay a bit loose. Weave a few more cords inwards and tighten the strings as you go, a few strings up the project.

-Look at the side of the braid. There's a sort of loop in the cord at the spot where it changes direction. Tug that loop outwards, to tighten the cord in the weave above it.

-Then tug the string further down the cord to get rid of the side-loop.

^Keep a constant hold of the braid here to keep it from unraveling. If this spot is held, the braid behaves. And it is harder to make a weave behave the more strings it has.

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Odd-numbered strings:

Unlike even-numbered braids, the 'arrow pointing downwards' is always uneven. Also, both sides start weaving by going over the next cord. (Or, both sides start by going under.)

Overall this makes odd-numbered braids easier to make, but they are perhaps harder to start and finish.

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6-string braid sample:

This lil guy shows off some extra techniques. For starters:

^Left: Four scraps are held together with one long blue cord folded over. First, each end of the blue cord got an overhand knot with two cord scraps making two bundles of three cords with a length of blue cord between them. Then those two bundles got brought together with the blue-only overhand knot.

Right: One square knot helps align the cord bundle into a flat row.

And then I started braiding:

^The first few steps, before tightening the cord.

Once you tighten the cords you'll have to hold it to keep its shape:

^In order, the start of the braid tightened, braid in progress, and the end with two square knots to hold the end of the braid in place. The square knots held the cords in place, just like the starter.

btw I made a third square knot before making the final two overhand knots to complete the end of the sample.

Herringbone is a design I wanted to build since the first time I saw it, and I didn't get around to that until Macre-May.

It's built like a color switch style 6 string, but with more strings and with only one square knot between open squares.

Standard herringbone:

Take the highest/least recent outer cord and pull it to the front for a single square knot. Take care that the open square loops stay the same size through the project.

^Starts with square knot starters and ends with a series of overhands.

Cord lengths are more complicated, particularly the base cord. If the base cords take part in all those ending overhand knots they will need to be cut a few inches longer than the usual 2PL.

The outer cords are cut to 4PL total each color, normal for open squares.

You can have more than three outer cords btw.

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Herringbone alternate style:

One outer cord (5PL total) makes every other square knot while two others (slightly less than 4PL total) make a knot every four.

Big open square loops do not eat cord as much as frequent square knots.

(Macre-May Prompt list)

Pictures under the cut:

Having more than two base cords within a square knot creates some novel color techniques. Here's two of those techniques:

Open square style:

This is three cords folded over to make six strings. Two strings form the outer cords with four base cords on the inside. When the outer cords go out to form an open square, the base cords continue making square knots.

There's a lot of potential here for variations.

With two different colors of 'base cords' you can have a different color each time the outer cords open up.

Open squares within open squares.

Rather than a square knot sequence when the outer cords open up, the base cords do another knot, such as one spiral of the twist technique.

Considering the variation I can't give you a simple length of cord to cut. A good place to start is the lengths for an open square knot where all cords are treated like outer cords. However, make the 1 outer cord's string a little bit longer and the 2 base cord's string a bit shorter.

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Color switch style:

With this style no square knots have at any time four base cords. Each time an open square opens up another one closes, leaving no gap in the square knot sequence.

^Start and ending. I don't like making overhand knots with more than four cords because this makes the knot weak. So I finished this sample in stages- two knots.

With this style the base cords are not visible, and the string is cut 2PL long. The two outer strings are 4PL each.

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Pictures! Here's a little sample I made to show off the open square style:

Starting and ending the sample:

^Lots of square knot starters And the ending is similar to the color switch style, for the same reason.

And here's a sample of the color switch style: