Motivated by an interest in the gap between analogue and digital knowledge in embroidery, this studyaimed to map what constitutes knowing in analogue hand embroidery, how this knowing develops andrelates to expressions and contexts. With an autoethnographic approach, questions were posed topreviously saved embroideries in order to elicit memories of craft processes and contexts. In analysis,Ingold’s concept ‘line of interest’ was used to trace knowledge development from a practitioner’s insideperspective. Preliminary results reveal prominent lines of interest that intersect and influence oneother. Four thematic features were identified as contributing to the development of knowing inanalogue embroidery: rhythm, regulation of tension, repetition, and rule-breaking. These concepts maybe productive in articulating knowing in embroidery and thereby contribute to the development of acrafts teacher education pedagogy capable of balancing conceptual dominance and time constraints.