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Archive for the ‘patterns’ Category

After my interview with Cecelia Campochiaro about Sequence Knitting, I was very eager to cast on a project and use her innovative techniques. Let me explain briefly what ‘sequence knitting’ is: by repeating a simple unit of knit and purl stitches over and over again, it is possible to create a complex textured fabric. A simple sequence knit example would be a 2×2 ribbing. You cast on a multiple of 4 stitches, and repeat the unit ‘knit 2, purl 2’ until you reach the end of the row. On the next row, you can start again with the unit. By playing around with the unit, and the number of stitches cast on, you can create very complex patterns indeed. They would be a nightmare to follow in a chart, but by memorising the unit, it is, in principle, very easy to knit.

Sequence Sweater Arms Wide Open

Easy knitting makes you feel good!

 

So, when my partner Anthony wanted a new sweater, we went yarn shopping and he set his heart on The Uncommon Thread‘s BFL Fingering in ‘Fe2O3’, which is a colourway custom-dyed for Yarn and Knitting, Brighton’s newest yarn shop. The sequence knitting needs something that will show up stitch definition, and from pictures in Campochiaro’s book it was also evident that a hand-dyed yarn would look wonderful. The slight irregularities resulting from hand-dyeing, combined with knits and purls makes for a very vibrant and lively looking fabric.

Sequence Sweater Standing

A comfy sweater in a soft yarn

Anthony wanted a sweater with plenty of ease and nothing too warm, so I psyched myself up for a project that would take me a long time to make: frequently changing knits and purls and a fingering weight yarn meant slow progress. The sequence knitting was easily committed to memory and almost drop-shoulder shaping meant there was little shaping to worry about for the front and back panel and those two parts were easily knitted. However, in this particular sequence pattern, the number of stitches cast on were not a multiple of the number of stitches in the unit, which meant that at the end of the row your unit was not completed. On the next row, you complete the unit. So, for armhole, neck, and sleeve shaping I had to come up with a method of keeping track of where to continue.

Sequence Sweater Chart

A sequence knitting chart. The numbers represent a block of knits or purls in a unit, and the shading shows how it shows on the right side of the fabric

It turns out that Cecelia has used similar methods when knitting something that included shaping. The chart may look confusing, but the only thing you need to know is how to continue at the beginning of a row so you know how to complete a unit. After that it’s plain sailing until the beginning of the next row.

So although the front and the back panel were easier to knit, as I didn’t have to refer to these kind of charts very often, I found that feeling to be making progress was more evident when knitting the sleeves: with such skinny yarn it can feel like you haven’t done a lot of knitting at all, as the fabric doesn’t grow quickly, and it was nice to be able to tick off rows and see I completed another ten rows on my daily commute.

Sequence Sweater Neckline

 

The ribbing on the welts, cuffs, and neck is based on the particular unit of this sequence pattern; see if you can work it out

I’ve written before about slow crafting and taking time, and this is a good example of it. Slow crafting means accepting slow progress. This is probably easier to accept if you’re a process knitter rather than a product knitter (ie your emphasis is on the process of knitting/making, rather than on getting a finished object,) but being accepting of slow progress, allowed me to take the time for details such as the visible three-needle bind-off I used for all the seams. There’s an awful lot of stitches to pick up on each seam! However, the bold lines that are created this way really frame the textured fabric: well worth the effort and the week it took me to complete it.

Sequence Sweater Seams in 3-needle bind-off

Bold seams frame the sweater

Another detail I was very happy about is the neckline. After seaming together the panels, I crocheted a chain around the neck line. I then picked up stitches through the crochet chain. This gave a very flush transition from main panel to ribbing, and I like the way it subtly accentuates the neckline. The ribbing itself was knitted on graduatingly smaller needles so that it really pulls together at the edge.

I’m glad that Anthony was also accepting of my slow approach; he’s been patiently waiting for his sweater. But after nearly five months of knitting, it’s now finished. And as you can see, he’s lovin’ it!

Sequence Sweater Posing

Strike a pose!

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Three years ago I met Anna Maltz at my first In The Loop conference. As I remember it, she was wearing some dazzling knitwear: a matching skirt and top in many colours. We clicked and stayed in touch, and soon a beautiful friendship blossomed. I have seen Anna taking her tentative first steps as a knitwear designer, and now she has released her first collection of knitting patterns: Penguin, A Knit Collection.

Every time over the last year or so that I visited Anna, she had yet another intriguing looking project on the needles; always inspired by penguins, and we discussed the ins and outs of the patterns, technical details, and how it might become a collection. So here it is!

Penguin A Knit Collection by Anna Maltz

Penguin, A Knit Collection, by Anna Maltz

As a friend, I’m proud of her for making this amazing book; and as a knitter, I think this book is full of great projects and a Q&A with Anna seemed to me the best way to finish 2015 on my blog.

Tom: hi Anna, for those blog readers who don’t know you, can you tell us a little bit about yourself and how you fell into knitting?

Anna: I got told off recently for someone not realising that I, as one and the same person, had done all of the following – being sweaterspotter on instagram, writing a quarterly column in PomPom Magazine, starting Ricefeld Collective with friends and knitting those nude suits. My grandfather was fond of saying, “call me anything you want, except late for dinner” and I’m happy to go with that too.

As for how knitting and me happened, ‘fell’ might be the wrong term. It’s always felt quite intentional and has always been present in my life. My mother and other family and friends taught me when I was 5, knowing it was an interesting and productive thing to do that I would enjoy, while helping me develop patience and the über important skill of being able to entertain myself.

I started knitting regularly a good 20 years ago, at a time when people would marvel about how long it had been since they saw someone knitting or that they were surprised to see someone of my tender age engaged in an old lady pursuit. It’s thrilling that in our current climate, I’m just as likely to spy a fellow knitter on the tube as provide the trigger for someone’s reminiscences about bygone family members. And to anyone inclined to make the old lady comment, I now have the wherewithal to patiently explain that it’s because society went through a moment of stupidity where it seemed like equality meant ‘letting’ women to do things considered ‘man things’ while continuing to belittle ‘woman things’, rather than saying, let’s teach and encourage everyone to do it all, because it’s all useful stuff. We’ve also gone through high-speed industrial and urbanisation that makes it appear more economical to buy things rather than make them. It may be in the short term, but looking at a bigger picture, it really isn’t. That’s why I make things and do my best to inspire others to do so too.

 

Penguin A Knit Collection, Pinglette Hat and Cowl by Anna Maltz

The Pinglette Hat and Cowl set, taking linen stitch into new territory

Tom: Penguin, A Knit Collection, is your first book, and leafing through it, I get a real sense of fun. The book design has fresh colours, there are penguin photographs and watercolours, and a photo essay. As a result it draws me in and makes me feel I’m part of a community. Why is community, in the widest sense of the word, so important to you?

Anna: I know a lot of amazing people and it seems like a waste to not involve them. It’s so much more interesting to not have to do everything myself. It’s amazing to work with other people and witness first hand what they do best. I have learnt so much through the process. Even before the wool reached the friends I worked with, it has been on sheep and through the hands of shepherds, shearers, washers, carders, spinners, dyers, winders and distributers. It seems inconceivable to me that community might not be important. Knitting is intrinsically about community. As I say that I’m not sure whether I’m drawn to knitting because of its community-ness or whether I see it as a community thing, because of how important I think community is. Knitting allows my work to occur for a large part in my community, for my community and as the result of that community – I wanted my book to reflect that.

For me, knitting transitioned from being a hobby when I made it part of my work at art school. I did that because I felt frustrated by the lack of making skills being taught and what that meant for the strength, diversity and options within my creative community. Also I was troubled by the stereotype of the artist, usually a male ego maniac loner starving (or otherwise suffering) in an attic, strapped to their easel or else womanising their way round town. Knitting you can do anywhere and it’s history is not with the elite: it’s about warmth, care, sharing, skill, resourcefulness, generosity and conversation, in other words, community.

Penguin A Knit Collection, Adelie Hat by Anna Maltz

Goofing around with fish – the Adelie hat in two different colourways

Tom: another thing that makes the book so welcoming, is the informal way you introduce the patterns, the helpful hints and tips scattered throughout, and not least the words of encouragement. We have talked about this in the past when we worked on some patterns for the Ricefield Collective together. How did you manage to get the right balance between making the patterns legible, yet putting in those additional bits?

Anna: I find that there is something quite powerful in being able to reimagine the skills you have at hand, rather than believe you have to make a huge leap into taking on a whole new set. As with the rest of life, often we feel like giant changes have to happen, when actually making small adjustments and reconfiguring what we already know can provide the interest and change needed. We can do a lot with the knitting skills we already have, by combining them in unexpected ways.

Deciding what information to put in the book and what to leave out was a hard balance to strike, but I didn’t need to work all that out myself, I had a bevvy of test knitters, editors and tech editors helping me. I wanted to be generous with the tips I gave while also being aware there is now so much info readily available online. That really freed me up to feel like it didn’t all need to be in the book. I very much wanted it to be a book of patterns that would convey and inspire you to try new things or combos of things, rather than be a dictionary or beginners guide. I wanted to do something that while being accessible was inspiring in suggesting what you can do with the regular skills you’ve already picked up or know where to find the answers. A book that celebrated where we’re at and the confidence we have or should have, in our own making.

Penguin A Knit Collection, Rockhopper Shawl by Anna Maltz

The Rockhopper shawl combines clever shaping techniques that are within every knitter’s reach, to create this visually stunning shawl

Tom: what I love about your patterns is that you often combine colourwork with texture or lace, in unexpected ways, and keep the construction easy. Penguins, however, only have a very limited palette, and seem so smooth. How did you get on with such restrictions as an inspiration?

Anna: funny, I really don’t think of penguins as smooth – they are underwater, but on land they are also fluffy, spiky, sleek, dense and shaggy. There is also so much variety between the markings on the different breeds. They do have a fairly limited palette of fairly safe colours, which I like because I think they provide a good jumping off point. Like a black and white film, they encourage you to see the colours yourself, not have them feel prescribed. Hopefully it will help people not to get too hung up on their knit needing to be exactly the same as the ones in the book. I can’t wait to see the other colour combinations that people decide to knit these patterns in. In the book I’ve suggested hashtags for people to use on social media, so we can all share and see and be inspired by each other. And of course there is always Ravelry.

As I see it, handknitting is pretty much divorced from the necessity of keeping us warm – it’s no longer part of limited options for survival. We can (in a blinkered way) more cheaply and efficiently buy what we need to keep us warm. This means handknitting is all about the entertainment. I like my patterns to acknowledge and embrace that. The journey of making should be equally as fun as wearing the result. As the fun of wearing can’t be guaranteed, you should really make sure you enjoy the making! That’s why I try to work in various elements to keep the journey of making engaging and interesting: a comfortable challenge.

Penguin A Knit Collection, Teenguin Cardigan by Anna Maltz

Anna proves me wrong about “smooth” penguins with the Teenguin cardigan

Tom: if I’m not mistaken, the Humboldt sweater is the first pattern in which you introduce Marlisle formally. Can you explain a bit more about this knitting technique?

Anna: the Humboldt sweater did get me to cook up Marlisle. It’s one of those things that when you do it, it seems odd it isn’t widely used, but so far, I haven’t managed to track down other examples of it. I would be so curious to see them. They must be out there.

The term is a mash-up of “marl” – two noticeably different shades of yarn plied or in this case, held together – and the “isle” from Fair Isle. Regardless of geographic origin, Fair Isle 
is often used as a catch-all for stranded colourwork. (And what an honour, that such a tiny place gets to lend its name to a whole technique that has its origins spread all over the place.) Marlisle allows this circular knitted sweater to have small patches of pure white on the front, but not the back without working intarsia, yet spread over distances that would be unworkable using regular stranded colourwork, because the floats would be epic. This was inspired by the fact that the humboldt penguin has a solid back, but speckled front and I wanted to find a way to knit that in one piece.

To achieve this, a strand each of charcoal and white yarn are held double and worked in garter stitch for the majority of this bottom-up sweater. The white yarn is separated out where required and worked akin to stranded colourwork in stocking stitch to produce that pop of single colour. Because you are always carrying both colours around, you have both colours available to use individually at all times. The density of the fabric changes little, as the yarn is always double thickness thanks to the floats behind the colourwork section.

Penguin A Knit Collection, Humboldt sweater by Anna Maltz

The Humboldt sweater, using Anna’s Marlisle technique. Incidentally, this picture also shows one of Anna’s other Instagram interests: matching yarns to old cars

Tom: last but not least, where can people buy the book, and find out more about what you are up to?

Anna: it’s really lovely that a growing number of yarn shops around the world are stocking my book. When you get a copy of the book, it comes with a special single use download code, so that you can keep a PDF copy on your computer or other electronic gadget – or print out certain pages, if you want to scribble on them like mad or crumple them in your project bag. For now the PDF is only available when you purchase the book, not as download only. I’m too excited about the fact that it’s a real live beautifully printed book to not want everyone to experience it that way.

If you want to keep abreast of what I’m up to, my website is a good place to start and links out to my instagram and sweaterspotter blog, which I use for outpourings that need to be covered in greater length and permanency than makes sense on instagram. You can of course also order the book, straight from me, through my website here.

Tom: thank you Anna, for a lovely chat!

And to show that Penguin, A Knit Collection, really has something for everybody, I’ll finish with a picture of Pinglewin, a cuddly toy penguin that can take its tuxedo off!

Penguin A Knit Collection, Pinglewin Toy by Anna Maltz

Pinglewin is the cutest penguin, and he can take off his tux!

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Earlier this year I posted about a book that my dear friend and comrade in wool, Felicity “Felix” Ford, wanted to publish.

I was honoured to be asked to help her along the way, and I’m so proud to say that Felix’s hard work has paid off. The KNITSONIK Stranded Colourwork Sourcebook is now published! Congratulations to Felix!

Note: Scroll all the way to the bottom of this post to find links to where you can buy UK and USA hard copies, and a worldwide PDF download.

KNITSONIK Stranded Colourwork Sourcebook

The Beautiful cover of Felicity Ford’s KNITSONIK Stranded Colourwork Sourcebook

The KNITSONIK Stranded Colourwork Sourcebook explains in clear and easy to understand steps how to create your own stranded colourwork patterns, inspired by everyday things. There are lots of working examples to show how to approach this, and plenty of suggestions and exercises to help you if you feel a bit stuck.

As I was privy to the development of her book and the KNITSONIK System, I decided I wanted to knit a swatch to share with you in this blog post, in which I asked Felix some questions, and she gave me some insightful and detailed answers. So you had best make a brew before continue reading this post!

Faye Moorhouse, Forty Faces

 

This gouache titled “Forty Faces” by Brighton-based artist and illustrator Faye Moorhouse, was my inspiration source for a KNITSONIK Swatch Sensation

Tom: why did you ask me to do hack your KNITSONIK System when I told you about my swatch plans?

Felix: when developing guidelines for a creative process there is usually some tension around rules. Rules can be extremely helpful and supportive, offering a framework for creativity or a set of criteria to which a brief can be fitted; but they can also sometimes seem restrictive. This tension between rules and openness was important to explore while working on The KNITSONIK System and when I was working on the early drafts, I felt your feedback and comments almost continually pushed for more open-ness.

Our discussions on this theme were really to have and I think that because of them the final text for The KNITSONIK System achieves a nice balance between offering useful rules without being overly proscriptive. While refining the system, I was looking for appropriate ways to visualise a good balance between rules and openness and I kept returning to the metaphor of a map. What I love about a map is that it does offer you some reassurance when you head into new lands, but detours are always allowed and getting lost or stumbling on wonders that are not marked are always possible! So in the final text for the book I have presented the system as a map, and an invitation to hack it is included in the introduction: there are plenty of reminders that the rules I have created really aren’t meant to hem anyone in.

However in spite of these developments I remained slightly haunted by the objections you raised to my rules in the early writing stages and I wondered what might be produced through entirely abandoning my rules or working in opposition to them. When you said you wanted to make a swatch, it felt natural to me to suggest that you hack the system in the process.

KNITSONIK System Swatch by TOMOFHOLLAND

The bottom half of my KNITSONIK Swatch; from bottom to top:

A row of the faces, but without features. This part was knitted flat, and used intarsia.

An attempt capture the flow of watercolour ink fading out on the paper. I used a mix of knit and purl stitches to blend the colour transitions a bit more, a feature often seen in the beautiful Bohus sweaters.

The start of what could become a grid of faces, the circles are knitted on a separate needle and the last row is knitted in with the main colour.

Capturing how the black ink bled into the yellow face in one of the forty faces. You can see the face in question in the gouache in the bottom row, second from the right.

A row of an enlarged mouth from one of the red faces.

A row showing the top knot of one of the faces.

A block of houndstooth check: the mouth chart two rows below reminded me of a houndstooth check, so I started exploring this further. The background contains all the shades that move from red via pink to white.

Tom: Have you hacked it yourself, or perhaps you felt safer sticking to your rules? How do you feel about the KNITSONIK System and its rules? How have they helped you, and how did they hinder you?

Felix: I find my rules very useful but will abandon them in an instant if they are encumbering a good idea! For me the rules really are only there to help and where they come into their own is at the outset of a project where my only thought is “I want to create stranded colourwork based on X”. I love that now I have a practical method for dealing with that impulse, and I truly enjoy the process very much. I used to faff about for ages trying to plan everything in advance whereas now I just grab all the colours I want to use and cast on, drawing designs in my notebook and refining them as I go. I find this really liberating and hope that other knitters using the book have the same experience.

I also like the discipline of trying to follow the rules around stitch widths included in the book because apart from anything else I think this is great practice for applying stranded colourwork to garment patterns. I am ultimately thinking towards applying personal stranded colourwork to garments and in this context the ability to understand the size of your canvas and adapt patterns to it is key. And although it’s not strictly necessary to make all the stitch patterns factors and multiples of one another, I enjoy the visual sense of rhythm and accents that occurs when they are.

Sometimes the rules are unhelpful though, and I have zero interest in sticking to them purely for the sake of it. For example the dandelion chart involves some long strands on the back of the work on a couple of rows, and I created an idea for celebrating my biscuit tin lid which is 18 stitches wide and therefore not a factor of 48. I also ignored my own rules about tall vertical columns of stitches while working on the Art Deco chart because the long verticals really are the whole point of that type of ziggurat 1930s architecture!

Biscuit Tin Swatch

The biscuit tin swatch with the offending stitch repeat of 18 stitches.

It’s all about that word balance; for me a framework gets me into a practical frame of mind and gives me a great jumping off point from which to innovate. A series of little briefs – pick colours; design a pattern; cast on; play with shading – is more inviting and manageable than a wide open idea.

I find that when a creative brief is too open the uncertainty will normally push me towards what I know and produce predictable results. Conversely I’ve discovered that if I set rules, manoeuvring within them forces me to innovate and often produces wondrous surprises. I think our Aleatoric Fair Isle project is a good example of this: the rules that we imposed on ourselves resulted in some very experimental Fair Isle knitting which was instructive and fun to create but which we could not easily  have been generated outside of that framework. The rules pushed us into new areas of knitterly thinking and problem-solving and I loved that!

KNITSONIK System Swatch 2

The top half of my KNITSONIK System swatch. Here I went completely off-piste. For most rows I used three colours per row, I didn’t chart anything, and the colours were added in at random. It’s a reflection of the (seemingly?) random choice of colour in the inspiration source. The larger squares in the bottom half of this picture all have two edges in a darker shade (even the black ones!) to mimick how the watercolour is never one solid colour. I also tried to keep the ratio of colour to white (the paper in the original) fairly similar.

Tom: I’m also thinking here about our experience with the Aleatoric Fair Isle where we found that we wanted to rebel against the rules we set out ourselves.

Felix: In a way rebelling against the rules of any system is just another way of creating a framework; but I love the energy and friction of rebellion! To me your amazing MEGASWATCH reads as a really elaborate and wholly positive critique of The KNITSONIK System; it has its own rules (must be a random number of stitches wide; must involve both flat and in-the-round construction; must use more than two colours per round; etc.) and I love how deliberately working outside of my rules has pushed your ideas about palettes and pattern into such exciting realms. There is a wonderful exuberance and thoroughness about the MEGASWATCH!

Aleatoric Fair Swatches

 

Two Aleatoric Fair Isle Swatches: Felix and I were inspired by a composition by John Cage and used similar ways to “compose” our swatches. Using a set of rules and the roll of the dice we left pattern and colour choices to chance.

Felix: I have questions for you though: did you find you had to create a set of guidelines for yourself and how did you approach the construction of your beauteous swatch?

Tom: we had a lot of discussions about how strict or free your rules in your book should be, and I feel that we both benefited from this. These discussions meant I had a good understanding of your system, which was important to start hacking it. However, my rules weren’t quite as strict as you imply (“must be a random number of stitches wide; must involve both flat and in-the-round construction; must use more than two colours per round; etc.”) I took a very organic approach to it and I hardly planned anything; there were no “musts.”

To me the most obvious hack would be to go against the stranded colourwork technique and knitting in the round. So, perhaps predictably, I quickly ended up using intarsia for the first hack. Then I moved on to knitting separate pieces (the row of circles are knitted on a separate needle in garter stitch).

Then I started to become more and more intrigued in how to depict the colour washes, and the bleeding of one colour into another. For this I wanted to use more than one colour per row. And in some areas I even twisted a short length of darker yellow around the bright yellow and knitted with that to get a good sense of the bleeding of the colours.

Faye Moorhouse, Forty Faces detail

I was inspired by the uneven coverage of the gouache inks and how some of the colours have bled into each other.

Of course, the one big rule in your book is to chart and chart again and refine them with each iteration. I hacked this big time! Apart from the big faces in intarsia and the houndstooth check (which I developed by blowing up one of the mouths) I didn’t chart anything. This really helped me reflecting the random colour choices of the faces in the original gouache.

KNITSONIK System Swatch Complete

Felix: do you wish I hadn’t asked you to HACK THE KNITSONIK SYSTEM?

Tom: I was more than happy to hack the system for you! It gave me a chance to really get into the underlying system, as I had to understand the rules first. Also, for me it shows how strong your book is. Yes, it does offer easy-to-follow steps and guidelines, but what it really highlighted to me was that you need to LOOK at things, and then inspiration will come, possibly with the aid of some exercises if you need some encouragement to get going. However, although not explicitly stated, I feel that the over-arching “take-home” message is that you can apply this to any type of knitting. Not just stranded and other colourwork such as intarsia, but with a bit of thinking about the different kind of rules you might need, you can easily apply your design process to textured knitting such as cables, or to lace knitting. And why stop with knitting? You can also feel inspired to create your own original crochet, needlepoint, or quilt designs. To me, that’s what I really learnt from the KNITSONIK Stranded Colourwork Sourcebook.

If you want to know what others had to say about Felix’s book, then the other blog tour stops are listed below:

28th and 30th Oct – Ysolda Teague
31st Oct – Brenda Dayne
2nd Nov – Jamieson & Smith with Ella Gordon
4th Nov – Donna Druchunas
6th Nov – An Snag Breac
8th Nov – Fine Lightness
10th Nov – Perfect Weather for Spinning and Knitting with Deborah Gray
14th Nov – Deb Robson
28th Nov – Tom of Holland
30th Nov – Fyberspates
31st Nov – Editions of You with Lisa Busby
4th Dec – Lara Clements
6th Dec – Spilly Jane
8th Dec – Ella Austin
12th Dec – Susan Crawford

The book is available in the following formats:

UK hard copy
USA hard copy
Worldwide PDF download

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When Magnus from Foula Wool asked me last year to design a pattern for a men’s cardigan using his Foula Wool, I did not only delight in all the natural colours it comes in, but also by its texture. After I designed the cardigan I kept playing with the wool, and decided to try out some travelling stitches (also known as twisted stitches or Bavarian cables.)

I’m pleased to say that I managed to persuade Magnus that textured knits also work well in his yarn, and that it would be shame to limit his patterns to colourwork only. And here, dear readers, is the end result of my pleading:

Crofters Mittens knitting pattern by tomofholland

Crofters Mittens, showing a Celtic knot design on the back, and a twisted garter rib on the palm

The Crofters Mittens are designed to show off the excellent stitch definition of the Foula wool, and comes in three sizes (please note: cuff not included, which measures 2″ when folded back on itself):

Small: 7.5” circumference, length from wrist to tip: 7.5”

Medium: 8” circumference, length from wrist to tip: 8”

Large: 8.5” circumference, length from wrist to tip: 8.5”

Crofters Mittens knitting pattern by tomofholland

The first half of the ribbing is knitted on a bigger needle than the second half; this means the ribbing folds over nicely at the midway line and falls right into place

This pattern assumes you know how to knit twisted stitches and how to knit in the round using the Magic Loop technique. The mittens start of with a tubular cast-on. The first half of the ribbed cuff is knitted on slightly larger needles than the second of the cuff, to ensure it folds over neatly. The wrist is knitted in stocking stitch. The hand and the thumb are knitted in twisted stitches throughout. The shaping of the top at the back of the hand is cleverly hidden within the pattern.

The following special techniques are used in making these mittens:
Tubular cast-on with waste yarn, the tutorial follows below!
Twisted stitches (sometimes known as travelling stitches or Bavarian stitches, see Donna Druchunas’s detailed explanation of a number of techniques here: http://www.knitty.com/ISSUEff12/FEATff12EK.php I prefer the technique that doesn’t require a cable needle)
Twisted decreases (see abbreviations for explanation)
Magic Loop with long circular needle (see Kristin Fraser’s explanation here: http://www.knitty.com/ISSUEss14/FEATss14VT.php)

Of course, a pattern launch by me would not be complete without a tutorial! So, today I want to show you how I did the tubular cast-on for these mittens. I used to favour what’s usually called the Italian cast-on or alternating cast-on, which is a variation of the long-tail cast-on (although the needle movements are completely different.) But after reading Catherine Lowe‘s The Ravell’d Sleeve, I tried out her method and it gives me better results, and doesn’t depend on accurately maintaining the tension of your cast-on in order to look good.

You can buy the Crofters Mittens pattern here.

Tubular Cast-On Using Waste Yarn for Knitting in the Round

Assuming you want an even number of stitches for a 1×1 ribbing, first calculate how many stitches you need to cast on. If your ribbing is X stitches in the round, then add 2 to X. Then divide this by 2. This is how many stitches you will need to cast-on (for example, if your ribbing will be 52 stitches in the round, then 52 + 2 = 54, 54 / 2 = 27, so cast on 27 stitches.) Using smooth waste yarn and a circular needle one size smaller than you want to use for your ribbing, very loosely cast on calculated number of stitches with the long-tail cast-on method. Make sure to space the stitches far apart to create lots of stretch.

Tubular Cast On with Waste Yarn Tutorial 01

long-tail cast-on with stitches spread wide apart

Now knit across the first row. At the end of the row, break off the waste yarn and attach the main yarn to the tail of the waste yarn. Turn work and then purl across to the end, then turn your work again.

Tubular Cast On with Waste Yarn Tutorial 02

One row knitted with waste yarn, followed by a purl row in the main yarn

Now the fun begins! * knit 1, then increase by purling into the running thread between the stitch just knitted and the next stitch *, repeat from * to * to the last two stitches, and knit 1, purl 1. You have now reached the end of the row. Turn your work one more time.

Tubular Cast On with Waste Yarn Tutorial 03

The running thread between the stitch just knitted and the next stitch is clearly visible just underneath the left needle tipTubular Cast On with Waste Yarn Tutorial 04

With the left needle, you can lift up the running thread so it’s easier to work

Tubular Cast On with Waste Yarn Tutorial 05

The purl increase in the running thread completed

This is the last row worked flat. * Knit 1, bring yarn to front, slip the purl stitch purl-wise, then bring yarn to back * repeat from * to * to end. You have just ended on a purl stitch.

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The purl stitch is slipped from the left needle to the right needle without working it. Notice that the working thread has been brought to the front before slipping the stitch

You are now ready to join in the round. You can place a marker if you find this easier to find the beginning of the round. I’m using the Magic Loop technique. So, here goes: join in the round, and again * Knit 1, bring yarn to front, slip the purl stitch purl-wise, then bring yarn to back * repeat from * to * to end.. The tubular cast-on is now completed.

Now change your needle size to the one you wanted to use for your ribbing and knit the knits and purl the purls (so no more slipping of stitches.)

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Tubular knitting of an extremely small tube in progress

You can leave the waste yarn in place until you have finished the object you’re making.

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One tiny tube of knitting. The waste yarn was left in place

Once you’re ready to remove it, first unpick the knot holding the main yarn tied to the waste yarn, then very carefully cut off the cast-on row with scissors. As there’s an additional row of waste yarn, it should be quite easy to stay away from the edge of the ribbing.

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The cutting of the cast-on row has started

 Once the cast-on row has been cut off, it should be fairly easy to unpick the remainder of the threads. Depending on where exactly you cut, you may be left with one last row of waste yarn peaking out of the ribbing. This is easily removed by carefully pulling on the waste yarn: it will come out as one strand.

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As I cut close to the cast-on edge, I had a row of waste yarn remaining after I removed all the cut ends

All the is left to do, is use some judicious darning in of the yarn tail, et voila, your tubular cast-on is complete!

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One tube with tubular cast-on. Can you work out where the beginning of the row was?

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One of the reasons I bought a spinning wheel, was to learn more about British rare sheep breeds and their wool and eventually to be able to spin yarns that will emphasise a particular breed’s wool qualities. Always on the look-out for learning opportunities, I jumped at the chance to sign up for Deborah Robson’s Wooltypes workshop at Fibre East this year. Together with Carol Ekarius, Deb Robson wrote the Fleece and Fiber Sourcebook; a terrific compendium on a huge amount of different rare sheep breeds, their wool, and how to work with them.

So far, I have only really used a worsted spinning technique. This is suitable for wool that has a longer staple (fibre length), but I expect that at the workshop we will also be working with shorter staple fibres. And for these fibres woollen spinning techniques are more suitable. For worsted spinning you prepare the fibres by combing them in order to get them all lying parallel; worsted spinning techniques aim to keep the fibres aligned – this results in a shiny, drapey yarn. For woollen spinning, however, you prepare the fibres by carding, and using a woollen spinning technique, the fibres end up all higgledy-piggledy in the resulting yarn. This makes the yarn lofty and very warm as it traps more air.

fleece, carders, rolags, and yarn

 

A pair of handcarders, finished yarns, rolags, and unprocessed fleece

So, what better fibre to use for practising making a woollen yarn, than the Shetland fleeces I brought back from Shetland Wool Week last year? As I only have one grey fleece (this particular shade of grey fleece is called Shaela in the Shetland dialect) and half a black fleece I think I have just about enough for a jumper. So how to combine the two colours in one garment? Perhaps the most obvious choise would be some stranded colourwork, however, this will take up more yarn than something knitted with a single yarn in each row. I didn’t fancy stripes either, but then inspiration struck, and I came up with a cunning blending plan. I’ll be making a few skeins each in pure shaela and in pure black, but for the remainder I’ll blend the shaela with the black on the handcarders; you can see the resulting rolags (the fibre tubes) in the picture above, and I’ll spin these up into some more skeins. But that’s not all! To blur the transition from shaela to black even more, I will ply a blended single (the single strand that makes up a, in this case, 2-ply knitting yarn) with a shaela single, and also a blended single with a black single to make some marled yarns. In the picture above you can see a skein of pure shaela on the left, and on the right a marled yarn made from a shaela single and a blended single.

JamesNorburyPortrait

James Norbury. Will I end up looking like this when I get older?

James Norbury Knitting Books

A few of my Norbury books: Traditional Knitting Patterns, Odham’s Encyclopaedia of Knitting, and Knit with Norbury

So what does James Norbury have to do with all this? Norbury (1904-1972) was, according to Richard Rutt, the “strongest single influence on British knitting during the 25 years after the Second World War.” I have a few of his knitting books, and reading through the patterns, it’s always the superb shaping that strikes me and that is exactly what I’m after. Handspun woollen spun yarn is a bit lumpy-bumpy by nature, but seeing that this is my first attempt at making enough yarn for a big project, and because I don’t have a lot of experience in spinning woollen, my yarn will be even more lumpy-bumpy and probably look very homespun, in every meaning of the word. So to make up for that I want to make a jumper using meticulous shaping and really push myself with that challenge. I’ll be employing the very best knitting techniques I know, knit all the pieces flat, and use good shaping. An example of this is the sleeve caps that Norbury uses in his patterns. There are three progressive rates of decreases, so that the sleeve caps are very rounded, just like they would be for a sewing pattern. I did once knit a jumper like this, which I don’t often wear for other reasons, but the shoulder on it fits me like no other.

James Norbury Polo Neck jumper

A polo-neck jumper designed by James Norbury; look at the shoulder shaping!

I will be documenting progress here on my blog, but as I do like to switch between projects, I think it will take some time before this jumper will actually be on my shoulder, but that’s okay. I like making things that take forever, and now that I’ve added spinning in the mix, you can make that forever and a day.

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Yesterday I launched my new pattern: Tom of da Peathill; a fitted men’s cardigan in three sizes, inspired by the natural shades of Foula Wool it was designed for. As I mentioned in yesterday’s blog post, Foula Wool is a sturdy DK weight yarn, so I used the knotted steek method to avoid any bulky edges resulting from folding over, or the very elegant steek sandwich devised by Kate Davies, which usually gives a very handsome finish.

The following tutorial shows you how to create a knotted steek. You may want to use your gauge swatch to practise your knotted steek on so you become familiar with this technique.

Knotted Steek Tutorial

knitting and casting off the steek stitches

First of all, the pattern calls for six steek sts. In addition, you will also need some stitches to pick up from: these are called the edge stitches. So apart from the pattern stitches for the cardigan body, there are two edge stitches, and six steek stitches. The steek stitches are knitted with both colours held together as one. When it’s time to cast off, only cast off the edge stitches and the pattern stitches. The steek stitches will not be cast off.

tomofholland Knotted Steek Tutorial 1

pattern stitches, edge stitches, and steek stitches. Note that the steek stitches have not been cast off

unravelling the steek stitches and cutting

Now comes the fun part. The steek stitches are all dropped down to the cast-on edge, thus creating a whopping large ladder! As the Foula Wool is a bit sticky – the very reason it’s a good yarn for stranded colourwork – you might need to coax them a bit to unravel all the way down. You are now ready for the scary part: the strands forming the ladder are cut in half. Spread the cardigan out a bit so you can easily find the middle of each strand. Remember, knitted fabric doesn’t like unravelling sideways, so it will all be okay.

tomofholland Knotted Steek Tutorial 2

cutting the ladder strands to create the front opening or the armholes

knotting the strands

The name of this technique – knotted steek – will now become apparent. All the threads are knotted in pairs in an overhand knot. Make sure that you always use the two threads from one row of knitting. Also ensure you snuggle up the knot to the very edge of the fabric for a tidy finish.

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The strands are knotted into pairs using the overhand knot, shown above

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The knotted steek shown on the wrong side. Notice the tidy row of knots, all snuggled up to the edge of the fabric

picking up stitches

It’s now time to pick up your stitches. You pick up between the edge stitch and the first pattern stitch. Keep an eye out for the fringe, and try not to trap them with the yarn you are using for picking up. Now commence knitting the buttonbands or sleeves.

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Stitches are picked up between the edge stitch and the first pattern stitch

 darning in ends

This is the part that will take a bit of time. Perhaps because I love darning so much, I really enjoy it. Be prepared to set aside an afternoon, and make a cup of tea before beginning. You will soon find yourself getting into the rhythm and becoming absorbed by the task at hand. You will need a sharp wool needle with a large eye. Sometimes called yarn darners, they are basically a chunky version of a crewel needle. The ends are darned in on the wrong side by skimming the floats at the back. If you find the strands a bit on the short side, then employ a classic sewer’s hand-finishing technique: first darn in the needle, and only then thread the needle; I use the method explained in this blog post by Stitchers Needle. By threading the needle with the two yarn ends from one knot it will go quicker than you think. Once the fringe has been darned in, trim the loose ends close to the surface.

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darning in the ends. On the right the unfinished fringe. Then the needle skimmed into a float, ready to be threaded. In the middle darned in ends. At the left the loose ends have been trimmed close to the surface

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the finished knotted steek on the buttonband. Notice that the edge stitch has turned to the inside, and the neat row of knots

There you have it, a steek which is virtually without any bulk, and which doesn’t impact the stretch of knitted fabric. Over time, this finish will become neigh on invisible.

I hope this tutorial has been clear and instructive, and has demystified my favourite steek technique.

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Today sees the launch of my Tom of da Peathill pattern, a fitted men’s Fair Isle cardigan inspired by the seven natural shades of Foula wool it was designed for.

TomOfDaPeathillCardigan4

Tom of da Peathill cardigan – alas, there are no peathills in Brighton to serve as a backdrop

When Magnus Holbourn approached me last year to ask what I thought of his Foula wool, I didn’t expect to end up working with him on a pattern. The minute the samples of yarn arrived, I was excited by the natural colours of the wool, and its very own character. Foula is the most isolated inhabited island in Britain, so it will come as no surprise that the strain of Shetland sheep on Foula is very old and has plenty of character.

balls of Foula wool in 7 natural shades

Seven shades of wonderful Foula wool: clockwise from top mioget, grey, black, moorit, light grey, fawn, and white in the centre

I tried out various patterns before settling on the combination shown in the cardigan. Having played around with many colours as part of my Aleatoric Fair Isle experiment last year, it was an interesting exercise to use only seven colours. This did make me more confident in putting the colours together in pleasing ways, and in fact, one of the Aleatoric Fair Isle swatches guided me in the choice of some of the patterns in the cardigan.

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Aleatoric Fair Isle Swatch No. 03

Tom of da Peathill Cardigan Back

The back of the cardigan. Can you spot the patterns from the Aleatoric Fair Isle swatch?

The cardigan is knitted in the round, with steek stitches for the front opening and the armholes. As the yarn is a sturdy DK weight, I didn’t want to use a method that would leave very bulky seams after cutting the steeks open. Therefore I employed the knotted steek method: before you cut, you need to drop down the steek stitches, so you get a massive ladder. The strands are then cut and knotted in pairs. To finish these after knitting front edges and sleeves, the strands are darned in. Once you’re in the rhythm, it goes quite quickly; you can find a knotted steek tutorial here.

knotted steek on Tom of da Peathill cardigan

The ends of the knotted steek have been darned in, dramatically reducing bulk, thus giving a very flat finish to the edges

And if you’re wondering about the name of the cardigan: I originally wanted to call it the Foula Cardigan, but Magnus was reminded of the peathills on Foula, and the way that the cut peat is stacked up to dry when he saw the cardigan. And who could resist a name that is so reminiscent of the very place where the wool comes from?

You can download the pattern from my Ravelry store here. And Magnus has put together a yarn kit for the cardigan here.

Last but not least, I also would like to take this opportunity to thank a few people who helped me along the way with my first garment knitting pattern: my comrades in wool, Felix and Kate, who have both been very encouraging. Anna Maltz for her cheery chats. And of course Magnus of Foula Wool, who started it all of. But most of all my partner Anthony, who is always supportive of my crafty pursuits, even if I occasionally struggle to keep my wool stash under control.

 

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