THE ENCYCLOPEDIA OF KNITTING by Lesley Stanfield & Melody Griffiths KAISER HS PUBLIC L 11155 ALN E FONTANA CA 92337 RUNNING /DRESSTHE ENCYCLOPEDIA OF KNITTINGAQUARTO ROOK Copyright © 200 Quan In Al sights eterved under the Pa-Anusicon and Isnational Copyrig enon Fr pubic he Uni Secs 200 by Rating Ps Bh Publishers, This bok may nt te epee in nk oa prin ay Fem ey ay any ete cheial,fchoing pleco vecndng, orb Ay mate rag al ile nn weno reer sve wihout leptin frm the pls yeresssau Dies es ie eee aera ate ISBN 07004-05057 sigs and pracy ‘Quarts Pablahing le Blunt Suse London 7 9811 (QUAREKT Senioepoie ear Nicole Linton Sent An olaor—Bliakeh Hesky spo Costes Cari [ey Dine ewes Hlaner Van Zant Clie Woe Pancin chester Stel Tera (Obs Legion icra rsccherLavrent Hoare Inder Manvficwol by Roget abishing Services La Hong Kon Prat by Lesion. Asch Prices La China Wis bck may eer yal othe publishes, Pease nce $250 fo Ropning Tres Baok Pues Philalphia, Penvyeanis 19108-43%9 Ves on the wet Contents Introduction ‘THE ESSENTIALS Materials Basic skills Essential know-how Additional know-how THE STITCH COLLECTION Knit and purl Twists Lace Bobbles and leaves Stranded color knitting Intarsia color knitting Special effects DESIGN AND INSPIRATION How to design Gallery Key to chart symbols and abbreviations Glossary and index Credits 6 10 4 » 3 4 54 6 7” lod 14 124 136 146 156 158 160.A Symbols are Used to explain textured stitch patterns. IntRopucTiON 7 Introduction ing is the art of constructing a fle: from a notionally continuous thread. The surface of the fabric can be smooth or textured, and the knitted pieces can be flat or tubular, straight or shaped, in infinite variety. All you need to know to get started is how to these richly patterned hold the yarn and needles, how to cast eruvian hats are recent examples of an old tradition on and off, and the two basic stitches ~ knit and purl. When you're familiar with shapings and have tried out more techniques, there's the Stitch Collection to explore with its mixture of old and new stitch patterns. Then browse through Design and Inspiration to gain the confidence to create knitting that’s all your own work, ‘A Color patterns are shown as color charts‘The Essenriacs MATERIALS You don’t need complicated or expensive equipment to learn to knit — just knitting needles and yarn, As you progress in the craft, you can collect more equipment and enjoy using all kinds of yarn. ‘To experiment with different yarns and gauges, you'll need kaitting needles ia dillerent sizes, a cable needle for working cablestiteh poaterns, and double-pointed needles, or a circular needle i you ‘aut to ty lntting in the round, When you're ready to knita garment, you'll need a tape measure fo ruler, stitch holders, sissors, a tapestry or wool needley and rmayhe a fer other items of equipment Feeling the yarn as it slips through your fingers is one of the pleasures of knitting, Add to that enjoyment by exploring a whole range of yams, fiom fine and smooth to bulky and textured, ia synthetic blends and natural fibers ESSENTIAL EQUIPMENT Knitting needles are an investment because you'll we them time and time again, Look alter your needles carefully and they'll last for years, but when the points are damaged or the needles are bent, i's time to throw them cut and buy new ones 4 Pairs of needles ate made ina variety of lengths ranging from araund soin (25cm) 10 16in (oom), Most knitting needles ate aluminum, usually with @ peart-sray finish, though some are nickel plated. Largerssize needles are made of plastic to reduce their weight. Bamboo needies are a flexible altemative. “4 Double pointed needles are sold in sets of four or five, and in several lengths. They were traditionally made of steel, but aluminum needles are more usual now, with ‘bamboo and plastic > circular needles are simply two short needle ends joined by a flexible nylon or plastic cord, The length of a circular needle Is measured from needle tip to needle tip. Most lengths of a6in (oem) to 4zin (s20en), a ® ees oo a Care me 3 RAG 4 This knitting needle gauge 38 peet’> —* has metic sizes on the one emaiacaa 48 side, American and imperial - sles onthe ott > The most useful ‘tape measures have both inches and centimeters on the same side, so that ‘you can compare measurements,> choose scssors that are not to0 smal and not too large but very sharp. > Youll need blunt pointed needles «either fapestly needles or woo! needles in different sizes for diferent weights of yarn x different knitting techniques. \ OTHER USEFUL ITEMS Oo Brisa even ce ! FINALLY, FOR FUN Mareriats 14 > A crochet hook rescues dropped stitches and can be used to cast off. A ro counter helps keep your place. Little point protectors Stop the stitches from jumping off the needie if You have to leave your kiting in the mide of Though not srictly necessary pompon rings and a kniuag bobbin aye peat for getting children interested in handling yarn They also ‘A. Bobbins can keep yarns from tangling when working intersie designs. A kritter's thimble can be used for calor kitting. “4 Some cable neecles have & Kink or crank to help keep the stitches on the needleaz THe Essentiats YARNS Aipsch Were lucky to have so many well-spun, yan fibers are spun into a testired yarns, so you're bound to find something you'll enjoy kniting with to choose from, Both matural a iuge variety of smooth and Yara is presented either as a ready-wound ball or a wind-it-yourself hank. The fiker content and construction determine hovw much yarn you'll got for the weight, so two balls that weigh the same clflerent sizes or contain very different 1. Whatever you choose, buy’ the best. Tireeo avo marten asus NOVELTY YARNS Also called fashion yams, these change from season to season, Chenille’ velvety texture is a perennial favorite, One year tweedy bouclés fil the stores, next time you look everything's ‘metalic. Shiny ribbons or richly textured blends = ty them all SMOOTH YARNS Sometimes called classic yarns, these Smooth yarns in wool, cotton, or mixed fibers are the knitter'srellable friends. However fine or thick these yams are, they will always show up stitch patterns beautifully Brusieo mown asus‘TEXTURED YARNS Fibers such as alpaca, silk, and linen make yams that look smooth jn the ball but have a distinct character when Knitted, Mohair ‘and angora can be used alone or mised with other fibers for a soft and fufy surface. flecked and mmarled yams give a tweedy effec, vile roving yarns ate single-ply and loosely twisted, giving a hand: spun look, Textured yarn Bl — Novelty yorn MareRiats 13 IMPROVISED YARNS Experiment with sting or ral, Hip strips of cotton fabric and join them with knots, or cut spirals from doth, plastic sheeting, mock leather or suede, and sew the Rasen suo ends together. Ifyou can make a S7#™6. continuous thread out oft, you can koi with ittm Basic Series BASIC SKILLS: Holding the yarn To feed the yarn on (othe needle evenly, run it through and GETTING STARTED See ye ing is a two-handed craft where stitches are worked off the left needle and on to the right, To get started, sit comfortably and relax! Knitting ation, which is hard requires hand and eye co-o1 to achieve if you're tense. ; Tener einen le exleuan eee tee Controlling the yarn and needles ign vat nshant Wins the yarn arund the lie ate Seas tid undone gunpalaceacn 0) | RRR Eee et aero ga BG On itcachedzpenen’ one Ba SE aPay fr he hp ee ss hoe RSs pein eee ee cat sdf HR Neat we ke Reet cuties React se te ae IEE aeons ee ea ecsee roth wal onic Ifyou want to hold the yarn in your left hand, ry waking it oves, ‘under and around the fingers (above lef). Akernatively wrap the yarn around the litle finger, then under and over the other fingers (above right).Holding the needles sne knitters old the right needle ike « pen, Others hold it ‘ovethand like a knife. With the feee-needl, or pen hold, the heciles used are ax short as practical, and the weight of the Knitting on the right needle is supported by the han and wrist, With the fixed-needle, or knife hold, long needles are used, and the right needle is wicked under the arm for suppor. If you're a beginner Tiy these steps, and those on the following pages, using medium. cedles and a smooth, medium-weight pure wool yarn, ‘A FREE NEEDLE With your right hand, pick up needle, and hold it Ike a pen. “Take the other needle in your left hand, holding it tightly with Your hand over the top. Try moving the needles forward and back with your fingertips, keeping your elbows relaxed at your sides, When you cast on and start knitting, don't drop the right needle {0 manipulate the yarn, but support it in the crook af your thumb, and use your forefinger to control the yam. Gertine Staareo 45 ‘A FIXED NEEDLE With your right hand, pick up a needle, hold it overhang lke a knife, and tuck the end of the needle tinder your arm. Take the ‘other needle in your left hand, holding it lightly over the top. Practice moving the left needle against the right. When you start ing, youll find you can let go of the right needle each time you make a stitch. A LEFT HAND ‘with your right hand, pick up a needle, and hold it like a pen. ith your left hand, pick up the other needle. When knitting, hold the yarn taut with the left hand while hooking or catd With the point of the right-hand needle,36 Basic Swites CASTING ON The first step in beginning any piece of ni ‘ing is to cast on some F stitches. Here are three of the ‘ most useful ways to cast on. The rro-ncedle cable castcon mikes a strong edge with 4 rope- like nei, uc its not very elastic. The thumb cast-on uses ust one needle and is very versatile. les very compatible with ribs doc co is clasticty Used with garter ste, t's indisinguishable fom the rest ofthe kiting ast isi effect, knit rou. The loop easton also ses one needle is sple and useful for butionholes. knot Parting a slip knot on the neodle makes your frst stitch, You can coil the yamn around your fingers or lay it lt. 8 4.Coil the yarn into a loop, bring forward the strand Uundemeath, and insert the needle 28 shown. 2 Pull one end to tighten the not, then gently pull the other end of the yam to close the knot up to the needle, Youte ready to cast on rns sccessOntes (ke this ANTIQUE WAN HOLBER Can STL BE USED TODAY. Cable cast-on This easton is macle by knitting a site, then transfering it fron the right tothe left needle, 4 Leaving @ short end, make a slip knot on one needle. Holding this needle inthe left hand, Insert the other needle Into the front ofthe slip stitch, Take the yarn around the right needle, and pull through a stitch, them transfer it t0 the left needle, wa 2 From now on, insert the right needle between the stitches each time, Transfer each new x J needle as before made f you take the needle into the stitch, Instead of betneen Stitches. This edge is useful for hems. J) Aless robust castonis |Loop cast-on ‘Tension the yarn carefully Fortis very basic caston, Thumb cast-on Using this method, you simply knit each sth of your sham, 4 Measure off about thvee times the length of the edge ‘to be cast on and make a slip knot on the needle, Hold the needle and yar from the ball Castine Ow 47 2 Tensioning the other end e jn your left hand, make a loop around your thumb, and insert the right needle in the loop. In your tight hand. 3 Take the yam around the needle. Then draw a loop through to ‘make a stitch. Gently pul the end to close the stitch up to the needle, Repeat until the required number of stitches, Including the slip stitch, have been cast on, ‘A Leaving a short end, make a slip knot an the needle. Tension the yarn in your lef hand, ard make @ loop atound your thumb. Insert the needle In the loop, slip your thumb out, and gently pull the yarn to make a stitch on the need.38 Basic Skits KNIT AND PURL Making a knit stitch 4 THe knit stiTcH Meee stony a 1 eP 8eee feel most comfortable, asrenyeneine ara aXcninn er} 7] you'll find the knit stitch ~ the most basic of stitches ~ very familiar. /- Garter Stitch you knit every stitch of every row the result is ganter stitch, Although i's very simple, this reversible fabric can be very versatile, Knitted A lnsert the right needle Into. 2 Taking the yarn behind, looses it's soit and springy: the fist stitch on the left bring it up and around the Worked firmly, the fabric lies needle. Make sure it goes right needle, fla, which makes st useful for bands and borders, Garter stitch makes an elastic fabric from left to right into the front ofthe stitch, in which the stitches are stretched widehwize, while the rows draw up to give an almost square gauze 3.Using the tp ofthe ht 4 lp the ste of the et Reedley daw sloop ofyam nee, Tere snow 2 new through the sie, sich onthe et needle Knitting a row Continue making stitches on the stitches have heen worked of? the left needle, then hold the needle with the stitches in he lefe hand Creare asinrie fir the nest row, You'll soon find that the Ay ‘movements flow into each other as you pick i ‘up more speed,THE PURL STITCH To progress to stockinette and more stitch patterns, you'll need to know how to purl. Purling isn’t difficult ~ just think of it as the opposite of a knit stitch Making a purl stitch ameter etestee ten ecrrraricn sare ee 4 Insert the right needle into the fist stteh on the left needle. Make sure it goe: the stitch from right to eft. 2 Taking the yarn to the font, loop it around the right needle. 3 Lower the tp of the ight ieedle, taking it away from you to éraw a loop of yarn ‘through the stitch 4 Slip the stitcn off the tot needle, There is now a new stitch on the right needle, Stockinette stitch ‘The best known, combination of knit and. purl is called stockinete stitsb, It's very simple, just knit fone row and pul one. row alternately, Te count rows in stockinette stitch, count the ridges on the reverse. For garter stitch, ‘count each ldge B Hh fh yy 5h a Knit AND Pure SS tae See Seee es aA ee es Sse —s = See SS aS SSS “e a See he Ss titch The right side of stock: inette is smooth and the other sides ridged. If you use the ridged side as the tight sie of | the piece, it is called reverse stockinette, ”Basic Skicis - Castine orF CASTING OFF Casting off ~ also called binding off ~ s // “links stitches to make a neat edge that won't unravel. Although there's one sic method of casting off, thece are simple variations that ean be useful. Chain castofTis the easiest and most ted, The decrease cast-off is less well known, but gives a very smooth finish, Casting ff with a crochet hook makes it easy 0 cope: with slippery yarns or tight stitches, These diagrams show casting off on the however you ean cast off on a wrong-side row or in kn and purl, depenuling on the stitch pattern cht side of stockincte, drcay ee ore overcuur Chain cast-off Lifting one stitch over the nest makes a chain along the top of the knitting on the side the castofF is worked, 4 Start by knitting the first two stitches. Use the point of the left needle to if the fist of these stitches over the second stitch and off the needle, 2 knit the next stitch co that there are two stitches on the Fight needle, then lit the frst over the second, Repeat until “ there is one stitch lef Break the yarn, draw it through the stitch, and pull it tight. @ Ifyour chain cast offs ta tight, especially at a neck edge, cast off with asicedle one or ‘more sizes largerDecrease cast-off This cast-off doesn’t make chain, sot’ useful for an edge that is going wo be sewn down, 4 Knit the fist two stitches 2 Knit together the first two together, then slip the stitch stitches on the left needle, just made on to the left the one already worked and needle. the nest one. Slip the stiteh just made on to the left needle, as before. Repeat until one stitch is left. Break the yan, draw it through the stitch, and pull it tight Crochet cast-off This cast-offcan be as tight or as loose as necessary aconding to the tensioning ofthe crochet chain Hold the yarn in your = left hand. Slip the fist stitch on to the hook Insert the hook into the next stitch, catch the yarn, and pull it through both stitches. Repeat to the last stiteh, break the yarn, and pull it through, Pickine uP & Drorren Stirew PICKING UPA DROPPED STITCH Don't panic if you drop a stitch. Here’s how to get it back on the needle. Stop the stich as soon as you can. Use the needles ora crochet hook to pull the unraveled strands through to make the stitches, 1 If the stitch has dropped one or two rows, it the strand on to the needle behind the dropped stitch Use the left needle to take the stitch over the strand, and lif the new stitch back fon to the left needle, making sure It faces the contect way, 2 IF the stitch has dropped 2 long way, Insert the hook theough the dropped stitch from the fron, then catch the strand, and pull it through to make a new stitch, Put the last stitch fon the left needle, Each strand of the ladder is @ row, so make sure you catch all of them,Essenriat Know-How ESSENTIAL KNOW- HOW: SHAPINGS Now you know the basics, you'll want to /@) make something to wear. Here’s how to shape your knitting, follow instructions, and sew up your work beautifully. When shaping your knitting, increases make the fabric wider and decreases make it narrower. Increases and decreases can also be used to create stitch patterns. Tn this section, you'l also learn the simple technique oF picking up stitches the best way to start a neckband and all kinds of edgings. Understanding the insiructions for the design you've chosen is easy ifyou take it one step ata time. Chants are A wonderflly clear explanation of atch patterns, and are simple to wse once you know how: And you'll discover that the secret of a henutifal garment is knitting tothe correct gauge and Knowing the best way to sew up for a perfect finish eg Decreases page 24 Picking up Stitches page 25 Reading Patterns and Charts ages 26-27 SIMPLE SHAPINGS When knitting, you can shape at the same time as creating the fabric. One-sttch increases and decreases are used to shape sleeves, armholes and necks. ‘They can be bath practical and decorative, Filly fashioned shapings are made sevetal stitches in ftom the ‘edges, so that the increases and decreases become a feature of the Uesiga, Shapings can also be used across aro, for example, stitches ‘may be incteased or decreased at the top of a ib. FULLY FASHIONED SHAPING These bar Increases are made to look as though they are two stitches in from the edge.INCREASES Here are two of the most basic methods of increasing a stitch ~ bar increase and lifted strand increase. Bar increase on a knit row Knitting into the front and the hack of a stitch i the most common increase. IV’ a meat, firm increase which makes a lite bar on the right side of the work atthe base ofthe new stitch, This makes it ‘cay to count rows hetween shaping. 2 Kit into the back of the stiteh on the left needle 4 Kit into the front of the stitch, and pull the loop through, but leave the stitch fon the left needle 3 Slip the stitch off the left needle making two stitches on the Tight needle, Note that the bar of the new stitch lies on the lett To increase on a purl row Either purl into the front and back of the ified strand. itch, or purl inte a SHaPinos Lifted strand increase on a knit row Making a stitch from the strand between the stiches isa way to increase. Because it's almost invisible it's useful for shaping in color knitting, 4 Pick up the strand between the stitches with the left needle, Make sure the strand lies on the needle in the same direction as the other stitches, then knit into the back of it BALANCING LIFTED-STRAND INCREASES TF you'e shaping ot the sides of a garment, work lited-strand increases one ar mare stitches in from esch edge - allowing the ‘same number of stitches before and after the increase. I you're shaping 2 dar, leave one or more stitches between increases, Balancing increases Ifyou work a bar increase into the frst stitch ina row the increase will appear one stitch in, so the cdge will be smooth, Make the increase atthe ond of the row inthe last stitch but one, and the bar vill also sitone stitch in fom the edge. Lifted-strand increases can be made the same number of slitches in from cach edge Perfectionists will tun the strand in the opposite direction at each end of a row atierce hoe SHAPINGS DECREASES Decreases - like increases - have two basic functions. They can be used to reduce the number of stitches in a row, as in armholes and necklines or, combined with increases, they can create stitch patterns. Right-slanting decreases Kaitting two stitches together makes a smooth second stitch Iying on top ofthe fist 4 Insert the right needle through the front of the first two stitches on the let \ NAN WH needle, then take the yarn around the needle. oe 2 Draw the loop through and drop the two stitches off the left needle, = Understanding Gauge pages 28 ~ 29 Making Up pages 30 - 32 Design and Inspiration Pages 134 ~ 105, Left-slanting decrease Slipping a stitch, kniting a stitch, then lifing the slipped site ‘over; makes a shaping with uhe frst stitch lying om top ofthe second, 4 Insert the right needle kanitwise through the front of the fist stitch on the left needle, and slip it on to the right. Knit the next 2 Use the tip of the left stitch, needle to lif the slipped stitch over the knitted stitch and off the right needle, Balancing decreases Werdihe eres i pats) ising conplerenary metiods, For tee tie espe core alee ee saci ea Depliting fom ord decease Santi ei heart end Fora Tethted eft, ets tha arcetes Moria: neceesse Pesrveneo oecressePICKING UP STITCHES ‘This technique Is vital for a well-finished garment as it eliminates bulky seams. Picking up stitches is simply Knitting up new stitches along an edge ready to-worka band or border in another ditection, HOW TO PICK UP A STITCH Hold the knitting with the right side toward you, insert the needle under an edge stitch, take the yam around and pull a loop through to make a stitch, When you have picked up enough stitches, remember the next ow wll be a wrong side row @ SHAPINGS 25 PICKING UP ALONG A Stralcnr eooe ieee sale Psi cane the inde tee Mien ping ome ee at a wre eee aera fa, SHE to eds ue oie Nia As Sed uiltcni topes op SORE Siete aa een ae ee PICKING UP ALONG A SHAPED EDGE Don't skip stitches along the shaped edges of @ neckline, | but work inta every decrease and row end, When picking Up from a stitch pattern, space the number of stitches as necessary to fit in with the patterna ESESATIAL ROSS DOR READING PATTERNS AND CHARTS Reading a knitting pattern may be unfamiliar at first, but as soon as you've cracked the code, you'll be able to follow instructions with confidence. You've found! your dream design, but how ean you be sure your sweater will ft? What should you buy? What do abbreviations mean, and how da you read a chart ‘Ovo irre parenns RET What are the measurements? The sizes will beset out in sequence, as a grid or with larger sizes in brackets. Because fit varies so much from ane desiga to another, First compare the actual bust ox chest measurement with your body ‘measurement, then check the length and sleeves. Some garments are designed to fit closely, while others are very loose — choose the What do you need to buy? aera en eerniaeenst erie ar gee Nearer ieee tel en etearaai neem ae Shae cee ee eee eee eee ine ieee een Checking your gauge Gauge is given as the numberof stitches and rows, usually win (idem), over the stitch paters om the recommended size cdl, “The needle size should be eated a a guide only — you may need to use a diffrent size to knit wo the gauge given in the instructions. See page 28 for more about gouge Understanding abbreviations Once you're fumiliar with abbreviations, you'll find it quicker and ‘easier to find your way around the instructions. Some abbrcviations are simply the first letter ofthe word, for example "k” for “knit”. Others use the ist few letters, such s “ep Liu? for “repeat”. Sometimes the fist leters of several [ai ist words arc ran tonether, for example *skpo" for "sip ‘one, knit one, pass the slipped stitch over", Not all knitting instructions use the same abbreviations. For instance, ‘ktb” may mean “knit ia the back of the stitch", or as in this book “knit in’ the row below". So. always read the abbreviations each time you follow a neve set of instructionsUnderstanding repeats Knitting is full of repetition, Stitch pattcns repeat horizontally jeross a row and vertically over several cows. ‘These multiples can Gither be shown on a chart or explained in words, Round or square rackets can be used to enclose instructions which are to be repeated For example *)2,p2] 3 times’, isa concise way to write 4, p2, K2, p2s R22” Asterisks are also used as markers to indicate a repeat. For example, “rep from * wo contained between the asterisks as many times as given When ovo parts of a garment share the same instructions, a fo 17" means “repeat the instructions group of asterisks i used to indicate the sections that are the same and where they differ. Reading charts Chars are a visual explanation of stitches and rows. They area very ‘eflcient way 1» check your place in a patien repeat or to compare fone repeat with another. Bach square usually represents one stich, ‘The kes will explain the colors or symbols. Chants are always numbered from the hottom co the top because this isthe direction of the kniting. The frst row may he cither a right ora serong side row: Right side rows are read feom eight to left and wrong sie rows are read from left to right. The multiple of the pattern repeat is sometimes shown underneath the chart, while shaded areas or dotted lines indicate estra or end stitches @Q Enlorging a chart by photocopying car moke ‘easier to follow. Make several copies and glue ‘or tope them together. If ithelps, draw ony shapings on the photocony. READING PATTERNS AND CHARTS UNDERSTANDING CHARTS Color knitting charts Most color knitting is in stockinet, so every ight side row is knit and every wrong side row is pu with the squares on the chart showing the colar to be used. The chart may be printed in color or tay use a symbol for each color W any tentored stitches are used they will be shown as symbols and explained ia the ke: Reading charts Fee Nee ey ene eters eee HgURen any reas er manta eee ie eta eect eae Re ce efeet baa ees eee rarer sent _more than one stitch, such as a count varies within a stitch pattern, solid areas compensate for the ‘missing stitches, Not all methods of charting use the same symbols, so always check the ke aFSSEATiAee DEON ei eile rien eer. UNDERSTANDING GAUGE The gauge of a piece of knitting is the umber of stitches and rows counted over a iven measurement. Gauge is controlled by the type of yarn, the size of the needles, and the stitch pattern. It is crucial to a successful result. A designer will establish the number of stitches and rows needed to ‘obtain given measurement in te chosen yarn ~ usually 4 inches ‘or 10 centimeters — and stitch pattern, and use that information when calculating the size and shape of a garment. So itis vital for the knitter following the instruetions to Work to the same gauge, otherwise the garment simply won't measure the same, ‘Knitting patterns emphasize that the knitter must use the cosrect yarn, so your might think that this applies to the needle size woo. But the needle size is given asa guide only, it doesn’t matter what size ou get the correct gaze. rach and check your gauge before you star only way to save wasting time an effort, ces fit, Usea ape mexsune ro =e HOW TO MEASURE GAUGE Knit a swatch with the size needles given in the instructions. Always add a few extra stitches and work a few more rows because the edge stitches will be distorted. Check the making up Instructions and, if necessary, press your swatch. Measure the ‘gauge on a flat surface, MEASURING STITCHES ‘ACount and mark the stitches with pins, then measure between the pins. Ifthe measurement Is. correct, you'l- know that-your finished garment wil be the ight, width, If your marked stitches measure less, youte knitting 100 tightly and the garment will be too The ball band narrow. Knit another swatch using often gives the larger needles, and measure again ‘monufocturer’s Ifthe marked stitches measure recommended more than they should, you're knitting loosely and the garment will be too wide. Knit another swatch on smaller needles, and measure again Stockineite gauge, but you should always check your gauge tn the stitch potter as well.@ 2 Mark the number of rows ‘and check the measurement. Wits co start kr ct £0 ng. if ‘ows measure less your keting is tight, garment will be Using larger needles for your ext swatch, Ifthe marked ows measure more, your si kavting Is loose, and the ‘MEDIUM NEEDLES garment will be knitting another swatch using smaller needles, UnoeRsTANoING Gauoe 29 Use pms 10 maex HOW NEEDLE SIZE AFFECTS GAUGE ‘See how the same yarn, the same number of stitches, and the ‘same number of rows worked by the same knitter give different: size swatches depending on the size of the needles. 4! 2 Trey T 1 2) Disney nen son sere | new bat of yorn ot the beginning of | arom where the edge will be part of ‘am, Hake 2 neat bundle with the tal end of yoo left fom the ott ‘ball. To joa the new yor, make a single overhand knot. When sewing ‘paundo the knot, tread one end onto. sewing need, and unit hough a few stithes ofthe seam. ahead and the marked ‘and the 100 shor. Try too long. Ty30 ESSENTIAL KNow-How MAKING UP Assembling a knitted garment involves two processes ~ pressing each piece of knitting, then sewing them together. Pressing Pinning out and pressing your kiting before sewing up will make an enormous diffrence (othe inished garment. Always chee the ball bund for yarn care, and test a sample swatch before applying heat or steam to your Toiting ~ natural fiver yarns are usually quite robust, but man-made mixes can collapse and therefire needa co), dy ion. Pin each piece out to size withthe right-side dena om a paded board, using a tape measure to check the measurement. Then lay 4 dampened cotton masin cloth on. top, and gently apply the iron. Remember never to stamp the ion down or pts i along. the surlace ofthe knitting ihe yarn is delicate ori the stitch pattem is textured, pin out the pieces but do nor press nstead, dampen them with a water spray then leave them co dey naturally Sewing up Sewing up fom the sgh side is the crt of invuble se. This tetas known as ladder or matress sth, god fo ining ‘Hand Mase woes Ta mor sih pars <4 STOCKINETTE The seam is almost Invisible in stockinete stitch, secure at one lower edge ~ the frst side. Take the needle Under the cast-on edge of the second side, draw the yarn through, then go under the first cast-on edge again. Tension the yarn to level the ledges. Take the needle under the strand between the edge stitch and the next stiteh on the first row of the second side, and draw the yam through. Repest forthe frst row ofthe first side. Continue Joining row ends from altemate sides in this way, ‘without spitting stitches. A INVISIBLE SEAM Place both pleces of knitting flat, with right sides facing ‘and the edges to be joined running vertically. Thread a wool needle with yarn and SLIP STITCH Catching down pocket linings or zipper facings Is easy with slip stitch. With wrong sides facing, tack the pleces to be joined, matching rows. Thread ‘woo! needle with yarn, Secure the end, then take the needle alternately under a strand on the main febric and an edge strand. Don't let the stiteies shaw on the right side or pull the yarn too tight. > BACK STITCH Back stitch makes strong seams. Hold the pieces with right sides together. Thread a wool needle and secute the yam at the right: hand end. Lining up rows and working one stitch in fom the edge, bring the needle up through bath Pieces of knitting between stitches of fist and second rows, then down between the first row and the cast-on edge. Come up again ane or two ‘ows on, and go down next to the previous stitch. Complete the seam in this way, taking es ‘ate to work Cee between the knitted SS) ( stitches, AEC’ Cover your patted ironing board with a check fabric to help you line up the rows ‘and stitches when pinning out. Maxine UP at Perfecting your technique NEAT DROP SHOULDERS If you're joining a straight cast-off sleeve top tothe row ends of a back and front to make a drop shoulder, don’t match stiteh-for- stitch, Skip a few row ends at regularintervals to compensate forthe different stitch and row gauges, > POCKET LININGS To keep pocket linings square when stitching them down, tack contrast color guidelines between the stitches on the right side cach side of the pocket opening. Turn over and follow the tacked guidelines to sew the pocket linings down, PERFECT PRESSING Knitting cen be molded inco shape atthe pressing stage if i's woo! fr eotton. Buy or make a tilor's ham — an overstuffed fabric ball — for pressing set-in sleeve headsRACHA SOL BL EME ADDITIONAL KNOW-HOW The basic skills will take you a long way in knitting, but sometimes more unusual techniques can make all the difference. Learning how and when to use these alternatives is the first step towards designing for yourself. Tnteresting cas-on or cascoft edgings ean translorm a simple garment, Tailored effects such as hems and facings give a sophisticated look: to knitting and are often the best solution when planning borders for color or intarsia kniting. Grafting is a useful ‘emergency technique for changing the length of a piece of knitting, and can be adapted 10 make almost invisible seams. Turning rows area subtle way to shape within the fabric ofthe knitting, while ‘adding. more increases and decreases 10 your kniting knowledge «sll help make pertectshapings and more elaborate stitch patterns. sae ty tas {vis Nii MORE CASTING ON AND OFF Here are two more ways to cast on and to cast off, each with their own characteristics. ‘CHANNEL ISLAND CAST-ON ‘Strongly defined knots decorate the edge of this robust easton. For an odd number of stitches, work as given here. For an even rhumber of stitches, simply cast on one mare stitch at the end. 4 Leaving an end six times the length of the edge to be cast on, put a slip knot on one needle, Double this length back fon itself so that the free end) thangs down, where it meets the needle at the slip knot. Take the doubled end in your left hand and the single strand from the tall in your right Rand. ‘Wind the doubled end twice around the thumb of your lef hand, Insert the needle up and under both of the double strands of yarn on your thumb, and take the single strand around the needle to make a stitch, Pull on the ends to bring the knot up the needle, Bring the single strand forward and over the needle to make a stitch Continue to make pals of stitches in this way, ending with a stiteh knitted from the thumb, Ss aS r} “4 The decorative quality of this cast-on tan be seen on the lower edge of atypical SGuernsey-style sweaterKNOTTED CAST-ON Costing on by this method makes a small knot at the base of cach stitch and gives an attractive double-stiength edge. “4 Leaving an end about four == times the length of the edge — to be cast on, make a slip knot an one needle. Cast on one stitch by the thumb method, lift the slip knot over the stitch. Cast on two more stitches, and fake the fist of the two over the second for each caston siteh required. PICOT CAST-OFF Instead of a plain cast-of, ty this very pretty Mnish, The picots can be made on every stitch, in which case the edge wil flute, of they can be spaced with as many chain cast-off stitches between 5 are needed to make the edge lie flat. > Insert the sight ‘needle into the first stitch on the left needle, and kait a stitch but do not Slip the stitch off the left needle. Sip the nev stitch on to the (eft needle, then make) a second new stitch as before. Cast off four stitches, then slip the remaining stitch back on to the left needle. Repeat along the row, making two stitches and casting off four each time. Y Here, the picots have been ‘made altemately over an odd umber of stitches. Mont CASTING ON AND OFF 33 CAST-OFF SEAMS Instead of joining back and front shoulder edges, by easting them ‘off separately and sewing them together, a softer join is made if the two sets of stitches are cast off together. This can be done. invisibly on the wrong side, as shown here, or made into a feature by being cast off with the wrong Sides together 41 Do not cast off the shoulder stitches, but leave them on spate needles. Place the back and front shoulders together with right sides facing and needles pointing in the same direction, Using a thied needle, kit the first stitch fon the near needle together withthe first stitch on the back needle. 2 Koit the next pair of stitches together, and then take the frst stitch on the right needle over the second, in the usual way. Continue until all the stitches have been cast off. When casting ff two pieces of kiting with ‘wrong sides together, make sure that the chain edge of the castoff faces the same @ way on each shoulder. Ifyou want to join shoped “shoulder seams in this 4 way, don't cast off groups of ttches, but work ‘rning ows Instead, The shoulders can then | becostoff togetherADDITIONAL KWow-How: HEMS AND FACINGS HEMS AND FACINGS EY instead of making edgings in rib or double-fabric finish. ‘These techniques owe more to dressmaking than to Knitting, bur they can be very successful if the right desiga and yarn are chosen, MITERED CORNERS Where 2 hem and a facing meet, or between an edging and a front band, a mitered corner may be the neatest solution. For this you need to inerease or decrease to make a 45-degtee angle, Shaping on alternate rous in garter stitch or moss stitch produces this angle almost perfectiy. In stockinette, achieving the Courect angle may entail shaping on 2 mixture of alternate rows and every tow, because the stitches are wider than they ave tal. ‘A Here, the garterstitch ed and front band form a neatly nitered corner, PLAIN HEM ‘A knitted hem can be turned up and slip stitched in the same way as a woven fabric hem. This can be bulky, and the folded edge ‘may spread, so i's preferable to make a neat kritted-in hem. >> With smaller needles than for the main fabric, cast on fairly loosely using the loop method. Work the depth of the hem in stockinette stitch, (ss ‘Mark the fold with a Sa fidge by workinga Gs Sv raw out of sequence) POI = lther tree punt EN rows or three knit rows, the center row ofthe three making the URE tidge. Change to the S needles for the main fabric and continue in stockinette stitch until the depth ftom the ridge matches that of the hem, ending ‘with a purl row. To join the hem on the next row, fold the hem up behind the main fabric, then knit together the first stitch from the left needle with the fist stitch from the cast-on edge. Continue in this way to the end of the row. PICOT HEM Avery attractive way to mark the fold of a hom is to work a row. of eyelets, which, when the hem is turned up, makes a row of well-defined picols. Work to the depth of the hem, ending with a \wiongeside row, Ifthe work contains an odd number of stitches, work the next row: ka, *yo, katog; rep from * to end. Over an ‘even number of stitches, begin the row ka. Eee ‘A The stitches between the eyelets form the picots when the hem is turned up.FACINGS Unlike ribbon or fabri, a kitted stockinette facing will be flexible and a perfect color match, For the front edges of 2 jacket or cardigan, the facing is best worked in one with the main part. To ensure that the facing folds on the ‘same stitch along its length, siip this stitch on every right- side row, {A The slipped stitch forms a natural fold line for 2 facing. FASTENINGS If you're knitting a garment that requires some form of fastening, here’s how to make it as neat as possible. BUTTONHOLES Buttonholes are best kept simple. Knitted fabric does not lend itself to the detailed finishing used on woven fabric, so try to ‘make buttonholes neat enough to make buttonhole stitching afterward unnecessary, as this reduces size and flexibility and ‘an be clumsy, EYELET BUTTONHOLES Asingle or double eyelet Is often suficient for a small buttonhole. A single eyelet is made with a yarn-over and single decrease; a double eyelet is made with a double yarn-over and a balanced decrease on either side, HORIZONTAL BUTTONHOLES The simplest method is to cast off stitches on one row with a chain cast-off, and cast on the same number above them on the next row with 2 loop cast-on, To prevent a hole before the fist stitch of the east-on group, work into the front and back of the last stitch before the buttonhole, and cast an one stitch less, “4 Two buttonholes, one In the front and one in the facing, come together wien the facing is turned In along the line of sip. sttches. VERTICAL BUTTONHOLES Knit along the row to the place where the buttonhole will be, turn, then work the required number of rows. Break the yarn, rejoin it where the knitting tumed, and work the same number of rows on this side. Finally, work on all stitches to close the buttonhole at the top. Use the two ends of yarn left to reinforce the top and base of the buttonhole, FASTEMINGS 35 BUTTONS Choose your buttons first and make the buttonholes to ft Faced front edges oa bulky yarn may require the button to have a shank. ‘A.To make the shank, sewr on the button aver a spacer such as a cable needle. When the button is secure, remave the spacer, twist the yam around the shank, then fasten off ZIPPERS Ziopers are slightly incompatible with knitting, but they are sometimes more appropriate than buttons, Edge the zipper opening with a few stitches of gatter stitch ‘or mass stitch, Pin and baste the zipper in place, lining up rows oF stitch patterns on either side. Open the zipper to beck stitch it. Fora neat Finish, knit facings to cover the Zipper tape.PG) (ARDITIONAL Reowslomr Saar tee, GRAFTING Duplicating a row of stitches with yarn and a wool needle makes an invisible join in knitting. Use this technique to alter the length of a garment or adapt the method to join shoulder seams. ‘Always use a blunt-pointed needle to avoid spliuing stitches and thread itwith enough yarn to worka rove. Tension te sexin stitches to mateh the knitting. Ta make an alteration, snip a site in the center of the rong, then pick up the loops of the stitches above and the witches ofthe row helow as you ease out the ya Working on the stitches of the lower piece, undo rows to make it shorter or add moze rows to make it longer, When you're ready t0 srali lay the pieces ta be joined close together, with the needles pointing in the same direction. Is casiest to graft in stockinete for reverse stockinette stitch, as deseribed here, but once you ‘understand how to imitate the stitches you ean try grafting in other stitch patterns When you'e undoing from the center of 4 row, use two circular needles: one to pick up the stitches below ond the ‘other [or the loops above. KNIT GRAFTING Lay the pieces to be joined fat with the right sides facing so you can slip the stitches off the knitting needles as you trap them with the sewn stitches, ‘A Bring the needle up through the first stitch of the last row on the lower piece, Go down through the loop at the side edge and Up in the center af the nest loop on the upper piece, then £0 down through the fist stich of the lower plece again, and up through the next stiteh. Continue until allstitenes and loops are od to make a row, GRAFTING A SEAM ‘This vatiation on grafting is useful for joining shoulders. Because the stitches run in opposite ditections, the side edges will be 2 half stiteh out, bur this can be hidden in a seam. Thread a wool needle with yarn and bring it up through the center of the first stiten fon the front, Take it under the edge stitch on the back, and down through the first stitch ‘again. Repeat, taking in a hole stitch each time to match the front and back stitches perfectly,PURL GRAFTING Arrange the knitting on two needles and lay it flat. The sewn stitches will make a purl row. ‘ABiing the needle down through the fist stitch on the loner piece, up through the loop at the side edge, and down in the enter of the next loop on the upper piece. Then go up through the fist stiteh of the lower plece, Continue In this way along the row, tensioning the sewn stitches as you go. GRAFTING GARTER STITCH “To keep the pattern correct, make sure thatthe lower piece of koitting ends with a ridge and the upper piece with a smooth ‘ow. To join the row, work the lower stitches as knit grafting and the upper stitches as purl grating. GRAFTING RIBS Follow the pattem of the stitches, altemating knit and purl grafting. Wide ribs are easier to join than single ib, a ee ee TURNING ROWS Short rows, made by turning and leaving stitches unworked, can be used to shape knitting. For. more stitches unworked. Fora symmetrical shaping, leave stitches tunwworked at both ends. For a smooth transition between rows, anchor the yarn belore turning and working back. cep slant, leave one or two stitches; fora gentler slope, leave 4 Knit the number of stitches needed for the short ow, bring the yarn forwatd, slip the next stitch purwise, then take the yarn back, 2 Return the slipped stitch to Y This swatch shows the use the left needle ready to turn of turing rons ta. make a and work the next short row stoping edge. The stripes help you to see clearly where the vain Is taken around the slipped stitches. The same technique can be used when ‘turning on a purl row. aw8 AopiTioNaL Know-How MORE USEFUL DECREASES * Working three stitches together keeps rib and other stitch patterns correct when decreasing, and can be used decoratively and structurally for lace and solid-stitch patterns, [Choosing the right decrease forthe stitch pattern is vital for shaping garments successfully: The single decreases shown on page 24 reduce the with of the knitting one stich ata time, Dut sometimes it's necessary to tale more stitches together ‘A douhle decrease takes inthe knitting more rapidly In knit one, puel one rib, it can be placed so thatthe pattern is aot fnterrupted on the next row And in many stitch pattern, double decteases are used with double increases to create Deauuitl lacy effects All these methovis of decreasing can be adapted to make multiple decreases by taking more stitches together. As with all ddcercases, i's very important wo be aware of the postion ofthe stitch that hes on top. Always paira lef-slanting and a right- slanting decrease when shaping a garment or working a suite pattern, The dominant center stitch ofthe balanced double {Feature of shaped darts and gives a clean decrease makes desi Fine to lace paucras. & Purting several stitches together ‘is easier than knitting them together, s0 try to finish off large bobbles with a purl stitch, Right-slanting decreases ‘The easiest way to decrease two stiches is simply to knit three stitches together, With this decrease, the stitch furthest to the left wil ie 09 top, giving 9 decease that slants to the ght. To give the same rightslanting decrease when working on the wrong side, youll need to pur the stitches together. KNIT THREE TOGETHER Count the number of stitches to work into on the left needle, Insert the right needle tip into the font ofthe third stitch, then through the fronts of the other two stitches, take the yarn around the needle In the usual way, draw the new stitch through all thee stitches and drop them off the left needle together. PURL THREE TOGETHER Insert the right needle into the fronts of stitches, take the yam around the needle, anc draw the new stitch through in the usual way, dropping the stitehes off the fet needle together.Left-slanting decreases Fora double decrease that slants to the let, worked on 9 right side row, youll need to take the fist stitch over a single ‘decrease. Fora simlarlooking decrease worked on a wrong-side ‘ov, purl thee together through the back ofthe loops. SLIP ONE KNIT TWO TOGETHER,PASS THE SLIPPED STITCH OVER ~ Sip the fist stich kritse, Knit the nest two stitches together, then litte fist stitch aver as shown The first stitch lies on top, so the decrease slants to the lef. Y To halance decreases at each side ofthe fabric, 26 shown in this swatch, work rib 5, knit three together at the beginning of the row, and at the end of the row slip one, knit two together, ass the slipped stitch over, ib 5. Because the decreases reduce three stitches to one each time, the rib pattern is correct on the following cows. Mone Userul Decreases 39 Balanced double decrease Working a decrease that takes one stitch from each side and leaves the center stitch on top has lots of potential for shaping and for working beautiful stitch pater, 4 Insert the right needle into the second and first stitches as i to knit two together, and slip these stitches onto the right needle, 2 Knit the next stitch, then lift the two slipped stitches over the middle stitch of the decrease les on top, “in this swateh, the ribs travel to the center and the decreased stitches are neatly hidden under the center stitch. The rib remains correct for the folowing rows.A: AGUS RAE OO RCO eM One EPEC REARS ES MORE USEFUL INCREASES The basic increases shown on page 23 all make one stitch. Here are two neat ways to increase two stitches. ‘Multiple increases are useful for lace stitches and for keeping stiteh patterns — stich as ribs ~ correct while shaping. “AShoping in single ib looks very decorative when double lite Increases ate used. To keep the rib correct, kat into the lited stitches to make keit stitches, and purl into the lifted stitches to make purl stitches. WORKING TWICE INTO A YARN-OVER I your Instructions tell you to make two stitches from a double yatm-over an the previous row, try this neat way of paring the made stitches, > Work to the yarn-over, then knit into the back ofthe loop. Drop the second yarn-over off the left needle, then pick it up with the left needle as shown, so that itis tured the other way, and kot into the Front of it. The twa stitches make a neat inverted Y shape over the hole. WORKING A DOUBLE LIFTED STITCH INCREASE Kiting into each side of the top of the stitch on the row below makes an increase that's decorative and useful for keeping patterns such as rib and moss stitch correct when shaping. This increase can be varied by knitting into the back of the lited stitch or puling into the lifted stitch. 4 Work to the increase, lit the stiteh from the row below the next stitch on to the left needle, and knit it. Knit the stiteh an the left needle, then lift the stiteh previously knitted into on to the let needle, and knit it @ Use this method to Increase Just one stitch knit the tfled Stitch, then the next stitch, and the new stitch les to the Fight. Knit the stitch, then the lifted stitch, ond the increase is 07 the leftBIAS AND CHEVRON KNITTING Use increases and decreases to shape within the fabric of your kni ing to create bias and chevron effects. Lyon increase and deercase one stitch at opposite ends on alternate ows so that the stitch count remains constany, the knitted fabric ‘vill slant while the direction ofthe stitches remains vertical. ‘Decreases at the beginning and increases atthe end ofa row tilt, the fabric t the left, inereases atthe beginning and decreases athe tend iltthe fabric to the right. Although often used to make flexible facings, this principle ean be used to shape knited fabrics of any size, The examples shown here are stockinette stitch =the stripes ‘ve used to emphasize the slant ~ but textured stitch patterns and ‘olor motifs can also be shaped in this way. The angle of the slant can be varied Ly spacing the shapings further apart. Pt left and right bias shapings together to: make a chevron fabric with the stitches fanning out from or traveling in to the enter, You'll need to work a double increase or decrease at the center — or use single shapings each side of one of more center, stiches, A single chevron can be uscd 10 create a knitted fabric of ony size oF you can combine upward and downward pointing ‘hevrons to make stitch patterns @ Try bias knitting n a stranded olor patter - the motifs wil ‘seem to move to the left oF fight, depending on the ————— BIAS KNITTING Tos make « flexible bias stp, cast on a Few stitehes and work the jinreases and decreases one or two stitches in from each end, “4 Fora slant to the right, Increase one stitch at the beginning, and decrease ‘ne stitch at the end of each right-side row. > For a slant to the left decrease one stiteh at the beginning and increase one slitch at the end of each Fight-side row. CHEVRON KNITTING These examples are in stockinettc with shaping on every right side row, bit you can vary the spacing of the increases and ‘decreases to suit your stitch pattern ‘A Double decreasing at the center and increasing at each, fend of every right-side row makes the stitches travel to the center and forms a ldownward-pointing chevron, A Incteasing at each side of the center stiteh and decreasing at each end of ‘every right-side row makes the stitches fan out from the center and forms an upward: pointing chevron.KNIT AND PURL =, Knit-and-purl stitch patterns can be SS used to create anything from cushions and traditional sweaters to fashion designs in crunchy textures and subtle brocades ~ the possibilities are endless. [Alternate knit and purl and you get the simplest texture stitches, Group the knits and pues geometrically © make blocks dliagonals, chevtons, and diamonds, or put them together more freely to create motifs, Patterns can be repeated to make an all- ‘over design, or used in panels with simple stitches between, Add interest to knit and pur patterns by kniting into the back of the loops or slipping stitches. PUTTING KNIT AND PURL TOGETHER (On the right side of the fabric, the knit stitches appear smooth, hile each purl stitch makes a ttle bip. If you think of the ‘smooth stitches as light and the blips as dark, youl find it easy to read the charts on the following pages. (~ bi Se See Pee ae ee: WORKING INTO THE BACK OF A STITCH Working into the backs of stitches is often used to add definition to stitch pattern, It closes up the V shape on the right side of the fabric and makes the diagonals from botiom right to top left more prominent. As the knitting progresses, these diagonals emphasize the verticals on the right side of the fabric ‘A:T kit into the back of a stitch, Insert the right needle into the back ofthe stitch fiom right to left, take the yan around the needle and ‘make the new stitch in the usual way. ‘A To purl into the back of a stitch, swing the needle ends slightly away from you to insert the right needle into the bck of the stitch from left to right, then take the yarn around the needle and make 1 new stitch in the usual way. ‘ALMOSS STITCH With an odd number of stitches, moss stitch is 2 ‘one-tow pattern, On every row simply knit the first site, then Purl one, knit one to the end of the row. Gn an even number of stitches, moss stitch isa two-row pattern (see page 46 for chart). ‘A. CROSSED STOCKINETTE To work crossed stockinett stitch, knit. Into the back of each stitch on right-side rows and pur into the back of each stitch on wrong-side rows,SLIPPING A STITCH To slip a stitch, simply move it from the lef to the right needle without working it. When this is done as partofa stitch pattern, the site is usually slipped purtwise, so that the stitch lies on the ‘nee in the same disection as an ordinary knit stitch. Slipping stitches makes a close, firm fabric. If the stitch is slipped putlise on a right-side row with the yarn at the back, the design clement is vertical Ifthe stitch is slipped purhwise on «right-side row with the yarn at the front, the design element is horizontal, Sftches can also be slipped purlwise on wrong-side rows Ifthe ‘wrongeside row is pled and the yar is held in front, che strand won't show on the right side; if the yarn is held at the back, the strand will show on the right side = 4 To slip one with yarn at the back on a knit row, insert the right needle into the stitch as if to purl, thon stip the stitch from the left to the Fight needle. Do not take the yarn around the needle ~ there is no new stitch Knit and purl stitches alone can make a richly textured design. ‘A-To slip one with yarn tn front on a knit row, bring the yarn to the front of the work, Insert the right needle into the stith as if to pur, then slip the stitch from the lft to fight needle. Take the yarn to back of the work to knit the nest stitch, ‘A BARRED STOCKINETTE Purl on wrong side rows, and knit and slip alternately on right-side rows, holding the yarn in font1: Moss stitce 2 ia Mutreve oF 2 snrches .us 1 8 utr oF 2 snrcres PLUS 1 ABOVE You ean stare moss stitch with either a knit ora purl stiteh Mumnmte oF osmTeHes us 3 Muuniecs oF 2 srircies Puss 2 ABOVE When working on an even number af stitches, ifthe fist stitch of the First row is nit, the frst stitch ‘of the second rove will be pur 3: LiTTLe BLOCKS LEFT Patterns of alternating blocks of stockinette stitch and reverse stockinette stitch ean be worked ‘over any combination of stitches and roms, Block pattems have a similar gouge to that of stockinette stitch, so the litle blocks here appear square even though there are ‘more rows than stitches (o each block, MuLiPLe oF 8 Teves tus 10 LEFT Welting pattons ean. be worked on any numberof stitches, fod or even, and with any combination of rows of reverse stockinette stiteh and stackinette stitch ‘This fabric spreads swidebwise and ‘contracts vertical ABOVE Adding a garter ridge tw the stockinewe stitch blocks makes this pauern look, more exciting than plain blocks, yet it’s very easy to WorkABOVE Double moss stitch — also called Irish moss is always a four row pattern, bucitean be svorked over an odd ‘ran even number of stitches, starting knit or pil as for moss stitch, The chart shows double moss stitch beginning with pur, a8 this hos the ‘comer of knitting moze neatly Tf double moss stitch isto be Muss or 2 strcnes lus 1 used after pl, Kl nb, then, start with 2 koit stitel, asin the third 109 of the char ‘Double moss is an cextemely useful stiteh because the row gauge is similar to that ofstockinette stitch, which makes it ideal for creating testurod mote on 2 stockinete stitch backgeound (see heart and star on page 50). 7: CORNISH LATTICE LEFT This stitch shows the smallest possible double moss stitch diamonds on stockinette stitch, Use itasan all over pattern, or work just three or four repeats fora textured panel, muerte oF 6 srrenes LEFT ‘This stich pattern is based on purl garter stitch and stockinewe, which makes i easy 10 work.‘Mucre.e oF 10 snrcaes mus 1 ‘ocriis or 8 srcnes plus 2 LEFT Although the lage repeat makes this paucin look complicated i's easy to work hecause is made with kait and pu stitches on LEFT You could work the stockinere stich part ‘of this pater ‘without visting the stitches, but the result sold be less well defined diagonals Fora diagonal running tothe right, reverse the chart FAR LEFT Working the stockinette stitch squares through the back ofthe loops ives a lovely ‘lefintion tothe blocksRIGHT See how the small blocks of stitches, sshicl- ane svorked through the backs of the loops, contrast with the stockinette ssiteh uatlining the blocks, Tir Twistep Chevron | LEFT ‘When diagonals are ‘worked in alternate directions, they meet tomake chevrons. Working stitches thraugh the back of the loops makes the shevrons appear taller and more clegant. Murine oF 12 srrcHes us 1 ‘MuLTPLE OF 10'srircHes PLS 2Moni oF 23 snrenes LEFT ‘This star ean be used asasingle mot Scattered on a stockinete sith background, or repeated in blocks. If sou're planning to Use tas a repeat pattern, chat it out fn ull to make sure that you have allowed enough extra stockinete sith background stitches between the stars RIGHT ‘Thisheart motifean bbe used in the same say asthe star oF combined with other stitch patterns. I's very easy to make this motif raph ‘paper, then add more pairs of dots for pul stitches evenly all around the motif until the hearts che size you want. Mori oF 25 sirensfabric is made by slipping stitches on both ight and syrong:side rows Remember to bring, the yarn forward befoze slipping a stitch on right-side rows and to take the sain back before Slipping stitch on syrong-side rows, 50 thatthe strands lays appear on the right sie of the work RIGHT Slipping to stitehes creates the horizontal strands in this subtle postern, When you're slipping two stitches, its easier to slip them prlvise together Don’t strand too tightly, because it will pullin and make a very thick fabric ‘Musnce oF 8 sirens Aus7 —_—_——————_——— BELOW an all-over pateen on Stranded fabries are ‘garment, match the ‘not all heavy. In this Inlocks by staring the pattern, aso called bnack as charted. bowknor, the long "Then for the font, srands are linked work the fist row into knit stitch to andi stat the repeat make a lively with the eighth row ‘variation on simple to alternate the locks. Ifyou're ‘locks atthe side svorking the stitch as seams. tae nan ae E B thoerae amos fe = -Auunnce oF 10 srirenesrius 7 Wore noms 1 10 13 in REPEAT Rows 270 13ee ne ei ie 18: HEARTS AND CHEVRONS. ABOVE given here ean all be Simple knitand purl used as separate stteh pattern panels. The chevron. combinations ate panel isa 10-row typical of Guernsey repeat, soit fits sweacers, The ‘neatly into the 30- lagonals, chevtons, row repeat of the ‘and heagt patterns hearts panel, The 19: TREE AND FLAGS tiny diagonals repeat exery 4 10Ws, so you'll need 10 work {61 rows before the pattern repeats exactly. Mire oF 40 sricnes rus 4ABOVE The moss stitch diamond shape is so ing hecause is shape echoes the diamond contained inthe cris-eross of the net. LerT are ofthe fan in putting panels of stitch patterns together les Insoeing the shapes created herween the motifs. Here the interest is heightened by the way the flag panels just miss touching the tee. ‘These Guernsey-type paterns can be used as Separate panels or combined with other Stith patterns you wish, Note thatthe busy lite pattern between the ag panel js simply double moss stitch, -Mamneae oF 42 sritcnes pus 3 ABOVE Kot and purl stitches can be used to draw ratualistic metil using the play of light fon the sure of the Jentting to define the Kurt AND Pug 53 ‘Mori-oF 25 srrcves design. Ifyou want a daisy leaning in the opposite direction, copy the chart onto graph paper in reverse, For smooth-petaled daisy on a textured) background, all you have to do is reverse ‘he knit and purl stitches4 Stircu Couecrion RIB Simple ribs are combinations of knit and purl stitches that form verticals which pull the knitting in across the width, Tn fib, the knit stitches are raised and the pusl stitches sink down. ‘The resulting elasticity makes nit very suitable foredgings and cuffs, Some ribbed garments are designed to fit closely, however, choice of yarn is important. Woo, for example, ‘will make springy, sietcly ib, while cotton ribs will Ke flat. [n the wrong yarn, a skinny rib sweater just won't cling. Ribs are usually worked on needles one, two, or more sizes smaller than for ether stiches, ‘Thesmaller the needle size, the ‘more the rib will contact. Interesting patterns can be made by combining simple rib with cable, lace, and twist stitches, “Measuring the length of a piece of ribbing can be difficult, since this measurement will vary depending. on whether the Knitting is stctched or contracted widthssise, In the end, its best to measure ribs half stretched unless the instructions state otherwise [Awassonruenr oF Rib Stitches, pages 56 ~ 63 Basic Skills pages 14-21 Design and Inspiration ages 134 ~ 145, SINGLE RIB For this basie sib, alternate knit and purl stitches are worked above each other Dover an even number of stitches repeat ka, pt to the end of the rom The second Faw is the same, Over an odd umber of stitches, begin kt, then pt, ki to the end. On alternate rows begin pi, then ka, pr to the end. DOUBLE RIB rit two, purl nwo rib makes a very elastic fabric swith strongly defined ridges andl furrows ‘This rib can be worked on a umber of stitches divisible by fou, in which case ke, p2 is repeated along each row. To balance it at each end, work ‘an a number of stitches dliisible by four, plus two. The first row begins ke and is followed by pa, ke repeated to the end. The second row begins p2, followed by ka, p2 to the end. BROKEN RIB This variation on douile ib docs not pull in,RIB VARIATIONS Fisherman's nb is an interesting variation on knit one, purl one rib, Kaitting alternate stitches in the row below gives a deeper, solier eb. Brioche rib looks similar, but it uses no purl stitches. It's ‘nade with slipped stitches and yarn overs, Detailed instructions are charted of page 63 > FISHERMAN’S RIB To knit in the row below, the stitch is knitted fn the usual way, except that the point ofthe right needle ‘goes into the stitch directly lindemeath the fist stitch on the left needle. Both strands are then dropped off the needle together RIB CARDIGAN Rib stitch can give a ‘garment elasticity and a flattering body-hugging shape. P BRIOCHE RIB When knitting together a slipped stitch and a yarn ‘over; the two strands are already in place on the needle and are knitted together in the usual way,2: BROKEN SINGLE RIB mucrvce oF 2 srirenes PLUS t Parling the wrong: side toms reduces the 3: SINGLE TWISTED RIB LEFT -nuerue oF 2 srvcues Pus 1 ‘This wellefined rib thas the knit stitches 5 ge Be fon the right side and the puel stitches on. the wrong side worked through the back ofthe loop. Leer EEE Stee ORE SS ee OE. OPN ON TPO IT AIT 2 ~ em > * as < 5 coors Pe DT 3 «BSrEEsska, p2 sib with small bands of welting makes an ‘interesting variation fon a familia theme. BELOW Interrupting eee Oreo Mucneie or 8 sirens us 6 ‘4: KNIT TWO, PURL TWO RIB ‘Mucrite oF 4 srcHes ms 2 Also known as double rib or we0- advo eb, this Purling wrong se rows turns I, p2 nto a firm fabric with verticals of garter stitch, LEFT LEFT ROKEN DOUBLE RIB. Aluinite oF srtcues mus 2——— BELOW Moving k2, p2 ribs along one stitch on alternate rows produces well Aefined diagonals, RIGHT Panels of diagonal ribs are made with increases and decreases mutrece or 42 srrenes Pus & 1 PURLinto THE eRonT oF THE STITCH THENK MO LEFT Aiwide rib can ‘comprise any number of stitches, This one ‘combines six of stockinette stitch with stockinette stitch.LEFT Joining up singe ribs vith small blocks of swcting makes an allover diagooal tae Ses RIGHT Kai sitting a tite through the back of the loop on right rows throws up a neat litte blip on a reverse stockinette stiteh ground. i: SHADOW RIB a muuiece oF 3 TrCHES PLUS 2 mouriece oF 6 srrenes muirince oF 2 srenes rus 4 RIGHT Slipped stitches make this gentle rib very thik and sofRIGHT This ribbed stitch is used to reinforce sock, and stocking heels, BELOW Slipping stitches on both sides ofthe knitting gives well defined ridges and a n fabric that is the same BELOW fon both sides, Moss stitch panels make this slip stitch rib extra firm and substantial 15: CARTRIDGE BELT RIB Mucrece0F 6 SRTCHES pus § ucrve oF 4 srircnes ruvs 3————— LEFT BELOW Another reversible This firm rb combines stitch, this combines stitches worked through single rib and moss the back of the loop stich with a nubbly knit and par texture S MULT oF &srtcnes mvs 2 SE smuarince oF 4 srewes pus 3 LEFT Dividing stockinerte stitch panels with moss stitch gives 2 fla, mock sb, aunts oF 10 scr PLUS 3FISHERMAN'S RIB Kir rie Row se10w itting alternate stitches in the row mutriece oF 2 srircnes Pius 3 Arren wonsiv RoW 1, REPEAT ‘ONLY Rows 2 AND 2 below isthe secret of this deep, soft rib, Both sides look the LEFT Kai 2 a2 > ae bas tz PPL aD PPP PPE ONT, Wile oe ree rere FI ooo Sze: 3 Zee ee eto PE a ee, CPI aa; ferent. mutrus oF 2 srrcies Pus 3 hwo, 3.167 Kero me st sranoPRAM IIS 89 DF CABLES Knitting groups of stitches out of front or the back to make hundreds of coiling sequence creates some of the world’s most exciting stitch patterns. Cables can be worked with two or more stitches, and they can be crossed to the and interlacing stitch patterns. Cable stitches are traditionally associated with Aran sweater, in which rich panels of ropes, plsits, diamonds, trellis, and embossed stitches are combined to flamboyant effect. Contemporary designers offen combine cable stitches to make fascinating figurative motifs, Classic cables are more restrained and give a sophisticated touch to even the plainest garment Once you understand the following techniques, you'll find it ‘easy to customize basic cables, making them wiler or taller cabling more frequently fora firmer brie, oF less often fora softer effet HOW TO CABLE When one, so, or more stitches are cabled, a short double pointed needle is sed to transer the stitches. When the cable hedle is held at the back, the stitches on the Fight side ofthe ‘work make a diagonal from let to right. When the cable needle is held atthe front, the stitches make a diagonal from right to left, Cable stitches can be knitted, purled, or textured is given in the pattern instructions. Once you've mastered the techniques far hase fourstitch cables, you will beable to tackle any ofthe stitches inthis section, y ROPES AND WAVES Inthe center, front and back cables repeat to make ropes, vile at each side they altemate to make waves. FRONT CABLE All the stitches are kniued, but this fourstitch cable crosses atthe front. BACK CABLE This fourstiich cable crosses at the back and has all the stitches 4 Slip the fist two stitches ‘on to a cable needle and hold at the front ofthe work, then knit the next two stitches from the let 1 Slip the first two stitches on to a cable needle and hold at the back of the work, then knit the reat two stitches from the let 2 Knit the two stitehes fiom the cable needle, 2 Kit the two stitches from the cable needle,FRONT PURL CABLE Here's how ta work sf stitch cable with knit stitches making 2 diagonal tothe lefe ona purl > HONEYCOMB/ZIGZAG Kit and purl fourstitch cables are used to make these patterns. § BACK PURL CABLE Here's how to work a fourstitch background, cable with knit stitches moving to the fight on a purl 1 Slip the first two stitches on to a cable needle and hold at the front of work, then purl the next two stitches from the left needle, background - called cabp. ET 4 Slip the first two stitches on to a cable needle and hold atthe back of the work, then ' knit the next two stitches from the left needle, Sine es. Br ye arn” CABLE SWEATER Cabie stitches created this warm, chunky sweater ~ Perfect for those cooler days, — ND ‘2 Knit the two stitches from the cable needle, ‘cobs can be tricky. Sip ‘marker of contrast yarn between stitches on the ‘able row and pull it out | Counting rows between “oftenvards.ABOVE Lite ables worked ‘over four rows are Fine on their own bor are especially good for slipping in Decween bigger panels. Here they're Used with eight-row plaits. RIGHT "This panel is surprisingly easy 10 work, because all the svrong-side rows are just purl. Thete’s no Jimait wo the number of strands you can plait —just add six mote stitches for each srand, 1: PLAITS AND ROPES Murine oF 28 srrcHes Panes or 4 srircnesif Pane or 44 src ABOVE ‘The center panel of honeycomb cable has repeat of eight stitches, so you could ‘work it over any multiple of eight co ‘alk it wider or 2 ay Munete or 12 surenes pus 6 BELOW ‘The easy three-over: three cables atthe top bf each block make this simple pattern of Jknit and purl blocks look mare complicated than it eally is.RIGHT Here a sixstcch: wide cable alternates with a two-site Ab, ‘The pater looks very busy, but its easy todo, ‘Mucripte oF 13 snrcHes rus 6 LEFT ‘Two-sttch crosses are often twisted, bur the smooth effect created by true cabling i worth the extra work, 4s this patern shows. You could make the spiral ib wider by adding any mulkiple of avo stitches, 6: CABLE KNOT RIB Murine oF 14 sires Plus 8LEFT you'd like a fer pit, try working ver twelve stitches, cabling four over four cach time, RIGHT Two-over-two cables along the edges of sockinette stich panels contrast clestively th snareow bands of sgaterstitch, All swrongeside rows are purl. Mutness oF 12 snrcuss ps2 9: TRIPLE ZIGZAG AND ROPE PaetoF 26 srncues LEFT This sian the page 65, but i looks « Jo mone interesting jn a group of three. Revere the rope cable i ‘working a pair of panels,10; TWo-TEXTURE Z1GzZAG Mucins oF 14 sracies reus 2 Li: SmocKeD CABLE Panes oF 24 sncoes Ke, sate d sts onro caste Wino Yann renter counren chai neeDce 4 THs, ENDING AT WROMG Sie. SL LEFT “This pattern is a ‘good one for geting tise to knit and purl cables, because the pul stitch always fis into the double moss stitch, To reverse the ‘zigzag, start the chart fon the Ith row, LEFT Although smocking can be created by sewing ribs together, using cables and clusters gives better definition, |‘Murnese oF 16 srrcHes Pus 10 TSP 5.3 1s ono cane neroue {ano wo. ar FRONT, 3, THEN Ie, PEI rrow caBte TSS 53ers wo cane neeoie Avo iowa a nr, KI, PI, Kc, HEH 3 0M CABLE LEFT Moss stitch is the texture used inthis six-stiteh cable, but Il pl nib could be substirated, with the knit sitches worked through the hack of the loops. RIGHT ‘These cabled leaves are used here for an allover pattern, but they could also be combined with other cable sitches, Murripts 0 18 srenes Pus 914: HORSESHOE TRELLIS RIGHT Extra cables springing ovt of the background add interest to an allover trellis patera. -MucrLe oF 16 srTcHes pus 2 BELOW Using crossed stitches ives this enclosed BELOW rope cable lots of ‘One-over-one cables character, and stitches eossed by working through the hack ofthe loop form stylized flowers 115; RIBBED ROPE CABLE 16: TULIP CABLE Pane oF 12 srcies Panet or 10 srircies ALLKSTS OF CABLES ARE SE Sta sisovrocanue 4, K1 184, Pl, KET, THEN KD 78 Py a FS Asanove, eurnoioRIGHT Elegant curves can be made with very simple cables, This stitch pattern can be used asa panel, or staggered, as a repeat. RIGHT Cabling on wrong: side rows is no harder than cabling on the right side. And bbccause the stitches from the four-stitch cable are cabled again on the next ov they spring out cleaaly giving lovely oval shapes. 17: BROCADE Caples 73 PER Sinem 218 0970 Ho. Ar anck,K2, THe PI, KI Tot Siexr 2575 0970 oto ar Fron, K1 Tot Pa, rae 2 ave. oF 21 snirces OVALS AND FLOWERS Pane oF 34 srches 2 f2,51 mese2 57s ovo canie neeote avo Ho10 AT (OW CABLE NEEDLE J TES, ENDING AT WRONG Sie. 2 YO Caepane OX Crp aRE worse oW WS Rows.mH sr ew Coueection TWISTS ‘Twisting stitches is working two or three stitches out of sequence, but without using a cable needle, This is an easy way to create patterns where lines of stitches travel over the surface of the knitting, Some sist stitch patterns look like miniature cables, others create Siagonals, zig 2ags, and diamonds, Twisting stitches closes up the work, so densely twisted stitched patterns ean make the fabric thicker and less leaible — unless larger needles are used. Tisists are sometimes combined with cable stitch patterns with the shallower twists complementing the depths ofthe cables. ‘The advantage of twist stitches is that they can be worked more quickly than cable stitches. ‘Although twists are casy to do, there are lots of tiny but important variations that change the appearance ofa twist A “They can be worked on right- or wrong:side rows, and the itches can be all knit all pur, or a combination of the two. ‘vise stitch pattems are easy t© work in the round from haat — especially the patterns that move astiteh on every Fo¥. imply read every row of the chart from right to let interpreting all the symbols as ight-side-row twists. oe Twist Stitches pages 76 ~ 83 Design and Inspiration pages 134 ~ 145 Gallery pages 246 ~ 355 HOW TO WORK A LEFT TWIST This twist Is worked on a right side row. As the stitches change: place, the first stitch les on top and slants to the left, while the stitch behind is worked through the back of the loop. 1 Knit into the back of the second stitch, ee ZS i tothe font of the first stitch, 3 Slip both stitches off the left needle together LEFT TWIST VARIATIONS To work a krit-ané-purl two-titch twist slanting to the let, purl into the back of the second stitch, then knit into the font of the frst stitch. To twist two stitches to the left on a wrong side ro, purl into the back of the second stitch, then putt into the Front of the fist stitch.HOW TO WORK A RIGHT TWIST HERRINGBONE TWIST In this rightsided row twist, the second stitch lies on top and tants to the right, while the stitch behind Is worked through the back af the loop. > This twist pattern uses left and right twists on a Stockinett stitch background, but the top stitches of the 7 twists are made more prominent by sipping them ‘on wrong-side rows. 2 Knit into the back 4 Knit Into the font of the ofthe first site, second stitch. ‘TWISTS SWEATER Astone-wash effect gives this cotton sweater an extra dimension, 3. Slip both stitches off the let needle together. RIGHT TWIST VARIATIONS There are two other ways of working this knit tit, Either knit Io the front Instead ofthe back. of the first stitch in Step 2. Or knit two together, then knit the frst stitch again before slipping the stitches off the left needle. To work a krit-and-purl right twist, Jit Into the front of the second stitch, then puri the fist stitch. To twist two stitches to the right on ‘wrong side row, purl into the front ofthe second stitch, then into the frant of the fist stitch.A ree rere 2: Tiny TRELLIS Musnipte or 4 snrcaes tus 2 sp makes a casted diamond panel, ABOVE Shown on page 7, Mucrnceor& sirens ouus 2————— FAR LEFT ‘This decorated rib doesn't pullin very snuich, so ean be used fs an allover pattera, Ifyou sant all the bbranches to twist in the same direction, repeat the first oF Last cight stitches af the chet LEFT. Simply usisting the stitches at the top of teach block praditces this prety patter See helllower motif ‘on page 83 for as Pinto pour another use of these F280 OF blocks, 6: Wave AND Twist RIGHT Tivise stitches are good for givingan Aran ellectin miniacure Mumnets oF 14 sreses mus 2(5) P ro rronr oF 20 st o% Twisreo ee Muunrus oF 14 srrcHes ews 2 Slipping the taveling sriehes on wrong side rows makes Be ee? eee eae 221 RIGHT them lie smoothly; snd because they're siratehed over two rows they can be scen clearly even though the background is sockinette stitch, RIGHTpi ey BELOW Stockinete titel wore definition. Musrnve or 12 srrcnes inside the inverted ids could be tabled, but twisting them gives a smoother textureTests @ 14; SLIP STITCH DIAGONALS LEFT Slipping the traveling, stitches on the previous row elongates and gives estza definition to these diagonals and ribs. Mutrite or 16 srtenes mus 7 RIGHT 15: SuiP STITCH OVALS Slipping stitches on ‘wrong side rows beneath the tvist gives a gracefl curve tocval mock cables Mucreve oF 12 strcats es 8aaerermaarey, LEFT “This band appears to siton the surface of the knieting because ofthe increases in the first row and the creases in the last & ‘Murine ov 6 srcnes rus 13 (cas on AMULIMLE OF A STITCHES PU 9) _INcmease 2 ts oY wonwine KS, 9, KIN sr Decrease 251s: 554, Hew st ee AND Si 240 Sr OW NEZOLE OVER as z 16: Twisr STITCH BAND RIGHT Slipped traveling stitches make a skeleton leaf pawtern ‘aguinst a sube knit and purl textured shape. Mori oF 23 srroxesah StITCH Courecrion LACE Lace stitch patterns are simply a combination of decreases and open increases. The new stitches (& are made by taking the yarn over the needle, to “ create a light and airy effect. The easiest lace patterns have exch increase worked neat to the corresponding decrease, so the stitch count stays the same on every rou Tn other patterns, the inereases and: decreases occur at different places along the rovs, but you'll find these justas easy to workas the total number of stteies on each sow doesn’t change. For some beautiful laces, the increases and decreases are made vn different rows, making it hander w keep. track of the stitch count, but creating exquisite pacerns. ‘Your choice of yam vill affect the appearance of your lace Ikniting. Fiem, smooth yams will make the construction more visible: soft or brushed yarns will blur the pattern. Tiaditionally, very fine wool or cotton is worked on relatively large needles, When the work is pressed, the delieate texture ofthe lace is revealed, SIMPLE ALL-OVER FAGGOT LACE Avery open. mesh texture is made over an even number of stitches by working yarn over, knit two stitches together along. every ro, MAKING A YARN-OVER 11s essential to take the yarn over the needle so thatthe strand lies inthe same dicection a the other stitches, Working into this stand ‘on the next row makes a hole, butif the strand is twisted, the hole will close up. When the stitch before a yarn-over is pul, the yarn will already be atthe from, ready to go over the needle “To make a yarn-over between knit stitches; bring the yam to the front as if to putt take it over the needle to kit the next stitch > To make a yamn-over between knit and purk bring the yarn to the front as if to purl take it over the needle, ‘and bring it to the front ‘again, ready to pur. MAKING MULTIPLE YARN-OVERS Some lace patterns have larger holes made by working two oF more yam-overs together. The eatra yam-overs may be dropped on the following ov. so that only one stitch is increased, or they may all be worked so that several stitches are made, “4 Bring the yarn to the front, and take it aver the needle Then bring it to the front and over the needle again for each following yarn-over. 5). ofLace 85 CREATING LACE PATTERNS Using the same decreases with yarn-over increases but placing them nest t9 each other or spacing them apart creates quite different effects @ |) When kiting a garment, | dan’ confse the Increases or decreases “ofthe shapings with the Increases and decreases ofthe lace stitch pattern =o the stich count made | bythe shapines will be Incorect > Here, the decreases are worked Immediately to one side of the yarn-overs, outlining the zig zags. ‘A. The steep angle of these thevions is the result of patterning on alternate rows. Y This zig zae has the decrease separated fram the yatn-overs, sa that they form gently wandering lines up the fabric LACE TOP AND SCARF Fine yams have been used to great effect for these examples of Shetland lace knitting. Working increases and dec n right-side rows sreates a differnt elect fron praterning on every ro: > Here, the patterning is on every 10m, giving a lacer appearance as well as a less sharply angled chevion,‘B86 StitcH Correcrion LEFT This is an old Shetland lace site ‘vith many variations, Common to them all isthe grouping of increases and Alecreases separately long the row to ‘make patterns KS SL2srsxnrmst,K2 706 re, resembling feathers, Tr FEATHER AND FAN -Mucnce oF 14 srcnes rus 1 Kehr fans, waves, and scallops RIGHT Cables have be added to this Feather ‘and Fan pacer. Some ofthe decreases are worked two rows away from the increases, resulting in a different row count in paits oFrows. 2: CABLED FEATHER ea -MucnPte oF 19 srcves Pus 2 adage] 3: Ovo Sate LEFT This venion ofa famous Shetland lace ae, sich is prciulrly . Ee cn eens iBELOW obbbles are very compatible with may’ ce stitches Here, clusters of bobbles have heen added to a lea stitch. fs pus? © = (1, P1,K1, Bs, Kajinnexr sr rm, PS, run, st i SH STS SEQUENCE OVER RST St ‘ABOVE Many pitorial effects an be achieved with lace stitches ~ this tulips slightly embossed Panel oF 13 srinenesBELOW This simple but sophisticated panel sould work well alongside cables eso eats Phe setea 64> Ket NOL od PanetoF 1 snrcues ABOVE Lace knitting lends itself to lame- and leablike patcerns [a each of these moti, the decreases move away from the increases, pulling the stitches into outlines. 13: CANDLELIGHT Like at EPsoroatt soca Muunots oF 10 sracwes nus 11 BELOW ‘This patern is similar to secreases pall he stiches in to form the central vein of cach leat Marte or 20 srrcnes rus 12 mmm mamma aiaPaver oF 29 srrcnes ABOVE ‘The increases and decreases form slrooping leaves with ‘eins and make the lower edge strongly shaped, Lace ot —— 16: CLUSTERED LEAVES PaeoF 13 stircnes 2 k3T05 LEFT Repeating all 16 rows ofthis chart makes am attractive panel. A single repeat makes a lange motif, or one of the leaves can easily bbe adapted to make a tiny moti 17: FEATHER LACE Muinete or srrcues mus 3RIGHT ¥ i 18: GorHic LACE ‘This isa progression of Feather Lace, One repeat ofthe chare makes a border, while repeating rows 1 10 16 produces an allover pattern RIGHT Despite the backsround being very open, this isn't a decreases. BA stuunme or 16 srcnesrius 17hee ee) RIGHT This leafy edging in zante site has lange {eyelets made with riuluiple yarn-overs. cast on 10 srrcnes 4 Kr0c <= store sr remumuaartee casting or¢ LEFT As the pattern is based on garter stitch, either side can be used as the right side, ‘This picture shows the smooth side, cast on 14 srrcHes <5 castor RIGHT This is a elssic edging Which has many’ uses It repays careful pressing to ‘open out the lace ‘aston 20 srrcies eves rows 3-14BOBBLES AND LEAVES By using increases and decreases, you can >, lm fi ix embellish the surface of your knitting ea Se with three-dimensional stitches, creating py” a variety of interesting effects. A group of increased stitches, decreased abruptly, makes a knot ‘ora bobble which can be used to add emphasis w a familiar cable or lace pattern Knots are worked into one stitch and completed without tuming the work, Bobbles are also worked into one stitch but have extra rows added by turning and working the bobble stitches oaly, Different size bobbles can he scattered of clustered according 0 the design, Bobbles, knots, and leaves ate often worked on a reverse stockinette background to emphasize the conteas. Larger groups of decorative increases and decreases worked over sexenil rows make a blister ~a flat raised shape ~ ora leaf which can be used as par of a motif or be integrated into a stitch pattern. There is also a family of all-over cestured popcorn and blactherry stitches that are made from repeated groups of increases es which altemate on following favs Direneus vas wie MAKING A THREE-STITCH KNOT Knots are always made on right-side vows, 4 Using the tworneedle ‘method and working into the front of the stitches only, cast on three stitenes, D The cop row shows thrce-stitch knots, the bbobbles on the other rows have five and seven stitches ‘an look and behave differently depending on the umber of turing rows ‘The same bobble 2 Kit the three cast-on stitches, then kalt the orginal stitch again, making four new stitches on the right needle. 3. To complete the knot, iit three stitenes, one at a time, over the last stitch fon the right needle.BOBRECES AWD LEAVES” “5: MAKING A FIVE-STITCH BOBBLE MAKING A SEVEN-STITCH LEAF Bobbles are alvays started on a right-side row This bobble ison ‘These thrce same-size leaves are each made slightly diferent. But reverse stockinete. in all of them, paired increases are followed by pies of decreases, worked atthe sides or in the center. 4 Into a stitch, work kx, yarn. 2 Then turn and purl the ‘over needle] twice, then ki five stitches, ee Sere ar ‘A lnvisible fined Seven stitches ‘A The leaf above has var-overs strand increases the are worked into a ie rentineedle tach side of the shape of the base double yarn-over center stitch. ofthis leaf at the start of 2 this lef 3 To complete the bobble, tum, ks, tum, 2 together, ps, p2 together, tum, slip 2 keiwise, ks, pass the slipped stitches over, To vary this bobble dow’ decrease, lif the stitches over in the same way es the knot. PARTY DRESS Bobbles and leaves are a feature of this pretty outfit.LSU SR LOU Se tre i: 1: BLACKBERRY STITCH Mi (kt, Pt, KAJaue mone & Pat09 2: KNOTTED Ris. LEFT Flere, the very ‘kyyTo From, wack AN FRONT OF ST WARING 3575 ast sis ovee tro atoRIGHT Purl-stitch bobbles are placed in regular rows on stockinette stitch blocks, and outlined in alternating knit and pul stitches -Muuree oF 6 snrenes Pus 3 G1, ¥0,K1, YO, ks) TURN KS, TUR, SKPO, K2 Toe tre mss? (ve 2no AND OFF LEFT This cable panel uses Fine-stitch cross 50 there isa center stitch to place the bobble on, Muenove or 8 srirates Okra. Kr. 0. KH) ‘Maia 5575 From ne on K5 70 Ps urr dn 3, 240 Shane or weeote © [kiyoxn Ye ifsc into one Ks, rupm P5, 67 tm 20, 20 sO ABOVE The wave rib is not cabled, ifs made with increases and ‘decreases. The bobhles add an Sm ano oFF Accent atthe ctrve of Necoue, each wave, ‘Pane oF 29 srircnesoS IER eee eee ABOVE ‘The traditional nosegay pattern has just wwe branches ‘with four bobbles. Here the stitch pattern has b through the chart a Few times, and you may see how © make y pater branches. ‘Murnoue oF 17 srrcues pus 1 (kx, vo. K1,¥0.Kijaue Inro ove $7 MAKING 5 STS ‘ROM Ons, TURN KS, TURN Ps, sier dn, 3, 200 Ano ‘inst 675 ous St AND 8: 3 Bopale CABLE pus 1 As.on Tuete Noscaax RIGHT abled ovals enclose three crunchy, pur stich bo es. Again, the lage cable cross ive a center sch to place the beSTITCH COLLECTION RIGHT ‘These prey litle motifs lve slender leaves because the ‘open increases ave taken into the reverse stocking stitch background, BELOW The leaf framed in the center of the diamond is gi separate chart wo make it easier to follow the cable patter, 11: Flower SPRiGs Py Bes ‘Murrpue oF 14 srcnes puus 1 62,70, 61, YO, spate oto one sr waxins 5 STS FROM On, TUBH PS, TR KS, LIFT 47, 30, 2h ST, AND FIRST SY oveR Sr ano OFF nee Wore suertenentany Lear char esc nie He 2 Src AND 12 RoW syeoL 1 kinro ron, aace 73, TUR 13, rr ano ano 1st‘ABOVE Inspired by ‘Tice of Lite carvings on early ome crosses, this design uses arate small chast for the leat make it sasiero follow the sharewhen working the curved, cabled Bowoie An Leaves 10% © IK, ¥0.43, 0, Xa}att nro one sr, Tu9N PS seaane 5 575 5, 1uRn P2 ro, Pi, P20, ren S2kP 0. BELOW ‘The surtice ofthis ‘motif is only slightly ised because most ofthe increases have oben ae ona we 1 S170} aNo 11 non decreases. The ruse noe, decrease taking ve t stitches into one at the top of each lobe A takes alec of words Be to describe but is easy . Aen todo ifyou Racca remember that the a9. stitches a each side Uo ou) are lifted alternately caver the center stitch, Prec oF 21 srrenes 4: HEART LEAF [511 K)rweé, 511» heeote, er stoves Avo oF uerr neeouel Morte oF 11 srrcies, weneasing ro 15 srircHesStirem COLLECTION STITCHES AND 12 ROHS NEEDED To PLACE MOTTE A UMM OF TEM M MOSS STON 5 NEEDED ALL AROUND THIS AREA TO PLACE (Ki, ¥0,K1, YO, Kt]au wo one srauuins 5 515 FROM ‘One, URN PS, TURN KS, LUFT AIH, 380, 28D, AND RST STS OVFR 1H AND O57 NEEDLE Worr saunnes wancco B) Kon 8s, PON Ws FOR WS, WE YOUVE FNSHED RNITTNG THe BACKGROUND, LIFT Test JovcareD ao wor (KYO, Ki) io FoR Fins ROW OF “SUPPLEMENTARY PETAL Ca. CONTINUE Wom PETAL LEFT This sery adaptable rots not qite an afiethoughi because your do nced to plan ‘enough moss stitch background and place the bobble You eould vary the size and amount of the pesals to sit the seale of your yatn -Mumnete oF 10 srncnes pus 2 81 Lier srnano serieew sr aur 20 nor ABOVE Rogular increases and decreases give a slightly raised surice to this pattern but it's easy to work because, despite making and losing stitches on cach right side row the stitch counto RIGHT To work a filled «digimg ftom this chart cast on a ‘muleiple of 12 stitches plus four, hen starting with the ed 70W, BA Where the cas-an stitches are indicated, Follow the chart to make the bell shapes and you'll fend witha sich, count that's a multiple of four, Muanpce or 8srrcnes Bosnies ano Leaves 103 LEFT Knots are faster to work than bobbles because you don't hhave to turn the work. You could sv ere with wy ofthe smaller bobbles in other designs, Kinro raonr ano oack oF sr ice Marine 4575 FROM ONE, LPT Ieo, 24D, ‘AND NST S75 oveR TW Ano OFF haut Mucrme oF 4 srrcnes mus 4 B® Casrow one sry He oorSTRANDED COLOR KNITTING All around the world, people have developed traditions of color knitting. Among the best known are patterns from Fair Isle, Scandinavia, Eastern Europe, and South America. Most stranded color knitting is worked in stockinette with just wo colors in a ross, One or both of these colors may be changed on subsequent rows, Some patterns use three or even four colors in rom, but this can make the fibric very thick. Stranded color knitting is wsually worked from a chart, Reading the chart. as directed, count che squaees in the ist color, and work that umber of stitches, Then count and work the stitches in the second calor. Continuc counting and changing the colors along the rows Once you have established the fist row, you ean simply glance atthe chart to see how the motifs change, Jn many traditions, stranded color kitting is worked in the round sshich means its eayy to see the pattern, If you're calor kictng ia the round, read each row of the chac fom right t left ‘As you'll discover, most traditional Fair Isle color after no mote stitehes in patterns change than seven a FON, loosely on the wrong side of the work, S itches would make an overlong strand, so it's Test ifthe yarn not in use cai be woven in at regular intervals to keep the wrong side tds. ° Use cone qucmne pms wien ° Stun uP, so hey oow'r cet HOLDING THE YARNS ‘The simplest way to change colors is to deop one yarn and pick up the other, But for faster knitting, experiment with the following techniques, HOLDING ONE YARN IN EACH HAND Hold and work with one yarn in the right hand in the usual vay “Tension the other yarn through the fingers of your let hand ~ or use the method on page 15. Ty knit with th lelt-hand yarn, the right needle, dip ic under the yarn, and pull ic through with a hook: like action, When purling, take care not to twist stitches. HOLDING BOTH YARNS IN ONE HAND old both the yarns in the right han with the main color over the first finger and the contrast color tensioned over the middle finger lip. Knit in the usual way with the main coloy, then tara dhe hand slightly flick the yarn from the middle finger around the needle for the contrast stitches, On purl rows you may find it easier (0 ‘manipulate the main color between thumb and firs finger and the contrast over the first finger, sill with the same rocking action of & the wrist take each yarn around the needle.vy STRANDING The strands carried across should be tensioned loosely ind evenly so that the knitting lies flat. Decide which color will lie on tap and always strand the yarns In the same order. y WEAVING The yarn not in use can be woven aver and under on alterate stitches on the virong side, making a very fim fabric, Orit can be coven in after several stitches, Take care the ontrast color doesrtt show through to the right sie. FAIR ISLE PATTERNS Y These litle geometiic patterns from Fair Isle, off the northern coast of Scotland, are called peerie pattems. RD has Mey Parag eM Tae) (reer ne Wy pany AA a eA M My WM p PRO WaRUat Wr AN wc vy wa ; STRANDED COLOR KNITTING 105 > This star motif is instantly recognizable as a Fair Isle pattern by the shaded effect. ee PATTERNED VESTS Stranded cotor knitting makes distinctive vests, sweaters, and cardigans for all the family.RIGHT Little two and three 10 patterns like these are between more complex hands of motif. Fi fun varying the colors on 4 stiped background for an easy-to-kait version of Mariete oF 4 SWnches us f srcies Pus 3 noe ‘lassie Fair le Marnpue oF 4 Ed ee a NX COUR RIGHT 2: FAIR ISLE FLOWER BORDERS: Some of these small ay. mae I hs reer ve Let yaa hrckground is all onc ‘Musnete oF 20 sritenes Pus 1 shade; but fora more round for each of patternMute oF 24 sercies rus 1 LeFT Here, instead of Which adds wo the jazzy fel ofthis Light interpretation ‘ofa waditional sar swith peerie patterns Foran allover pattern, continue traveling the double line of yellow stitches lover the navy background on rows 12, B,and 14, then 36 0 join up the XMocmote oF 10 srenes rust 5: ROSEBUDS AND IVY BORDER ABOVE These very pretty patterns are by Swedish mittens Work rows 17 1026 far just one sow of roscbusls, or repeat rows 17 wo 38 for an allover pater, RIGHT space the rose motif as ia the svateh, begin exch Subsequent repeat of he 9th row five ities in from the the ofthe cha Work the 1-row rose notifewelve times retore the pattern pM BS GM LEE! epeats exactly on the ROSES AND VINE BORDER, 2st row, i te Bi foe ‘aatouaet te at me P ah Mucrove oF 12 srircues rus 6: HAREBELLS AND VINE BORDER] ABOVE The vine borders are shown running in opposite directions. If You wane wo knit the deat band of hare- bells with the flowers facing right, read rows to 31 in the ‘opposite directo Murine oF 12 srnenescolors you ase can ‘emphasize the mot Ifyou're choosing BELOW Moaifs similar to this dh American geometric repeat can fe eee ee brown, moving and baskerwork, as through to the well as knitting lightest shade forthe arceans like this are [Paiste Auarete or 12 srenes rs 1 RIGHT tmbridery design It you'd like to worka brighter ry works cach zigzag and key motif in a diferent color, The smaller pad nl scroll motifs are similar designs used in weaving VT ade 4 ee 1 oe ] Ms a Aucrete oF 29 srrcues pus 1 ucnpie oF 10 srrenes Sexou ucreve or ta srrcnes11: SCANDINAVIAN DECORATED STRIPES RIGHT De ty) y Be 5 ve tx wry oi RM g ag A yeni yii oh uf We A oe a on = nies ary vs : RA oe va ay ie "" MULTIPLE OF 4 riches Pus 1 RIGHT Phe flea pattern atRIGHT Although most ofthis pattern has been Uesigned for stranded knitting, youll find ie casier to use separate bulls of black for the reindeer body and in foreach area in red between motif orking this design: pink, navy, and green. ust loop the green wera strand to carry nied with separate lengths of yarn. This dlesign is ver and would alo work well in 140 colors 13: LARGE REINDEER Munece of 20 srirenes ius 1 ‘14: PERUVIAN FLOWER BORDER Muir oF 26 snTcHes rus 1RIGHT Strand the yarns for the purple background and pink leaf motif, but use separate short lengths of contrasting color foreach diagonal leat vein, Change the contrasting color as often as you like. RIGHT Use this simple geometric pattern to of solid color to another, RIGHT Little geometric border patterns contrasting with an alloserdesign are typical ofthe pattems on on Lat mittens. This d igo is quite easy to knit as only row 22 has more than two colors Toner wen oe i We MIS Ta AANA naveegrenny Lr OO Cia 15: PERUVIAN LEAF BORDER Mucninte oF 13 srrcHes PLU 2 16: SOUTH AMERICAN WAVES Marne oF 20 srrcnes rus 4RIGHT This simple pattern is easy to knit but capable of subtle variation. Try revers RIGHT Use this striking star ‘asa border or arrange it as hall-drop al ing the direction of background Irae oF 6 stews sss RIGHT 20; TuRKisw sock parreRn |] This allover pattern is a mitror image at cach side of the center stitch, Here, the background color is changed every sis, rows, but you could Mucnipts oF 12 srrcnesINTARSIA COLOR KNITTING Large geometric patterns, in ual motifs, and picture knits are the kind of my the intarsia technique color designs that are best knitted using Intarsia is simply work which are linked together at cach eolor change. ‘This eliminates stranding or weaving ia on the weong side, and gives a single thickness fabric, The technique is used for dat knitting only Jntarsia eannot be worked in the round, Designs in intarsia are worse trom charts where the number of stitches in each color can he seen clearly and easily, Stockinette is the most frequently used stitch, but the technique works just as Well with textured stitches and cables, Some designs ~ such as tiny blecks of color scattered on a plain are best worked ia. combination of intarsia and areas of color with separate balls of yarn stranding. Use separate Iengths of yar for small motifs, andl strand the background color, visting the yarns at each color change ORGANIZING THE YARNS First sort out the yarns by counting the number of areas in each color, then wind off suitable lengths of yarn according. to the size of the areas, Use complete balls of yarn for each large area. Wind the yarn on to bobbins for smaller arcas of if there are just a few contrast stitches, use a short length of yarn. I the design is very complex with lots of colors, avoid tangles by using lengths of yarn which can be pulled free easily because they are aot attached to a ball or bobbia, DIAGONAL COLOR CHANGES Ts easy to keep your knitting neat when working diagon because the colors move along one stitch each time. Linking the Use aosans ro ®HOW TO LINK COLOR AREAS Every time you change colors, you must link the areas together or thore willbe holes in your knitting. ll you ne r inthe weong side, todo is twist the ON A KNIT ROW Knit with the fist color (here it’s pink) to the changeover, then drop the vain. Pick up the second Color (purple) and take i around the fist yam before kiting the next stitch. ON A PURL ROW Purl with the second WZ yarn to the changeover, Make sure you take the fist yarn around the second yarn before kiting the next site, KID'S SWEATER Use the intarsia technique Bo create bold blocks of yy) color or motifs like this world map. aid (stanbia Coton Rairrea6. VERTICAL COLOR CHANGES When the colors change at the same plac ‘ovat the yarns neatly a particularly careful ‘evenly to avoid roles and! loose stitches. Daen in ends along color changes, aa1: BROKEN STRIPES ‘Morir oF 29srrcHes e 3 2 z S 3 2 few diagonal color changes to make motifs within stripes. Tey light on dark or dark on light tonal variations,RIGHT By comparing the knitted design with the chart you ean see how the drawing must be elongated 10 ‘compensate for the fact that stockineue usually has mote rows than stitches to a given measure. ‘ment In ather words, to knit round spots you must chart ovals RIGHT Eyen tiny patterns are better worked by the intarsia technique, so that there is no stranding tohind the ma background color, 2: Spots Mutrte oF 14 sirens pus 7RIGHT ABOVE AND BELOW Checks and plaids, such as this patcera, area classic way to use blocks of calor To keep the number ‘of individual lengths of yarn toa miniomim the loverchecks can be worked in duplicate- stitch embroidery The two designs share the same stitch count, but the diamonds (bottom right) are salle, cause the colors change on every row ee ‘Mucus oF 16 sncnas pus 1LEFT These stylized insects are made more lively ‘with a central stipe ofa deeper color. Use fane orall of them as a repeat pattern or as individual motif. ser grate Sar AREER, Mor or 15 snrenes Moni oF 19 srrenes Monit oF 5 srrcwes moni oF 19 srrcvesBased on a piece of Guatemalan weaving, this mixture of intasia and stranded color kitting has a go-as you-please border ‘The geometric repeat pattem avoids being 10. ical by having random color changes [OUTH AMERICAN BIRO ‘Mucins 0F 20 srs Pius 4| | NISRA, oceee eR ITER e tee 7: Leaves Monte oF 20 srcnes ABOVE Almost any pictorial image ean be knitted The chart look taller than the motif hecause of the gaugeRIGHT This bright border design has a clear affinity with Pair Ble ‘kniuing, bur instead ‘of being the same color along the rom, inva different color (Mucrinu oF 12 srcaes rus 2 RIGHT Danish cross stitch svas the inspiration for this crowned hheast motif 9: SCANDINAVIAN HEART = Ys fy ' pe) Ae ‘Mon oF 25 srircnesSTARS CA LORE es RM ATT Rees 70; DiAwoWos maa4 SPECIAL EFFECTS When stitch pattern and construction technique become Z inextricably entwined, or when you add surface decoration to your knitting, you can create some very special effects Ifyou like working short rows and aren't afraid of picking up stitches, then you'll love entrelac. Using twa colors and working in stockinete stitch makes it easy to understand the construction, for your frst attempt. But you can ako work this woven-elfect knitting in other stitch patterns, or you can adel eables or color motifs to the blocks You'll need to re-think every stitch pattern for circular knitting. Whether you're eceating Nav or ubulie shapes, the right side of | the work is always facing you, making almost every kind of patterning easier to do, D> CROSS STITCH ROSE Cross stitch embroidery works beautifully on stockinette. Each cross stitch covers a single knitted stitch. However, as knitted stitches are wider than they ae tall, the cross stitches won't be Square, Take this into account when choosing or drawing a chart “Tucks and pleats can be used practically when designing a garment or creatively for sculptural picces. Sometimes a stitch pattern rakes over and becomes almost another way of knitting: Loops, for instance, ate both on the surface and an integral part of the stitch, For a different approach to color knitting, ty slip stitch ppaterns ~ some of these fascinating stitches are also reversible Finally, there's no end to the ways you ean add surface decoration ‘o your knitting, Beads and sequins ean be knitted in all over or placed dramatically Embroidery can be planned to enhance a stitch pattern or to make marvelous motif ‘A SEASHORE BEADS Even if theyre large or iregular shapes, beads don't have to be sewn on afterwards - they can be knitted using the slip stitch technique.“4. MOTIF ENTRELAC These litle boats look as though theyre going up and down on the waves because of the different directions of the knitting. The opening and closing triangles are in cantrast color, Each block of this entrelac is worked on 12 stitches and each boat motif is 9 stitches wide, leaving the edges clear for joining the blocks. YY SWEATERS IN THE ROUND Sweaters are so satisfying worked in the round, especially when combined with stranded color kiting. The body and sleeves are tubes shaped at the underarms, then the stitches are arranged — back, left sleeve, front, and right sleeve - to make one big round for the yoke. Plan the design so that the number of stitches in the fist round divides ‘exactly by the repeat of the pattern you have chosen, Decrease evenly in the rounds between the patterns to shape the yoke in at the neck << cincutar socks faueeiie tae imply tubes of kot, San eaieeiisie peli needles, Sato he top and int in roance antl you each the heel, work hal the sites ofthe Peace vain then work na tbe Uni yore acy sane rt ‘the toe, Undo the contrast des?! yarn and shape the hee! Fe ORS Inthe some voy es jou A Shaped the te,ame. OEE EAR ecole ENTRELAC ~The entrelac technique looks like <= magic, with the changing direction of the stitches making a woven fabri This technique uses short rows, decreases, and picked-up stitches, and the result isa patchwork that’s acually knitted alli one. Fach, hes ~ the number of stitches used (© make the base triangles determines the size of the blocks. ‘use any stitch pattern you want, so long as the repeat oF block has twice as many’ rows as You c motif fits the number of stitches and rows for each block. BASIC TECHNIQUE ‘The best way to understand the entrelactechnigque isto knit up a sample. This swatch of stockinette-sttch entrlaes is hased on 3 ‘multiple of 12 stitches. Use any yarn with appropr needles, but change eolor for each row of blocks to emphasize the chauge in direction of knitting. STARTING ROW OF BASE TRIANGLES Using frst colar, cast on 36 sts. as¢ base triangle P2, turn, K2, tur, p3, turn, k3, turn, Puling one more stich from left needle each time, continue in this way until there ate 22 sts on right needle. Do not turn. Leave these stitches and work two more base trangies. FIRST ROW OF BLOCKS Change ta second color. The frst row of blocks has side ‘viangles. 1st side tiangie Ka, turn, p turn, kfb, skpo, turn, 3, turn, kib, kt, skpo, turn bj, turn, Decreasing one stitch from base triangle on ros each time, continue until fb, ko, skpo has been worked, do nat turn, leave these 12 sts. Block Pick up and k 12 sts ftom rowends of, base tangle, turn, px2, tur. Ka, skp0, turn, p12. Continue inthis way until all sts of base triangle have been: decreased, do not turn, Work a second block between 2nd ‘and 3rd base triangles. 2nd side trangle Pick up and k 12 sis from row ends of last base triangle, turn, p2tog, pio, tum, ks, tum. P2tog. po. tuin, kta, Continue decreasing at beg of every purl rov until fone st remains, turn, slip st on to left needle.Entmetac 127, SECOND ROW OF BLOCKS Change to first color. The and row of blocks does not have side triangles. Black P, pick up and p 11 sts, turn, ks2, turn, Pat, patog, tum, kr2, Continue in this way until all stitches of fist row block have been decreased, do not turn. Work and and 31d blocks in this way. COMPLETING THE ENTRELAC The next row of blocks is the same as the first row of blocks but working into the 2nd row of block instead of base triangles. Alternating color, work as many rows of blocks as you want, but always end with a first row of blocks, then finish off with triangles to give a staight edge at the top. Closing wrangles Change to first color. Pa pick up and p 21 sts from row-ends of side tangle, tur, kia, tur. P2tog, pg, p2tos, tuin, kit, tum. Patog, 8, pztog, tum, kxo, tum. Continue in this way until turn, ka has been worked, turn, pi, patog, tuin, kz, tuin, patog, 1 st remains, Picking up and purling 1 sts from row-ends of blocks, work and and 31d closing triangles. ENTRELAC WITH CABLES ‘Adding a cable to your entrelac Is fun. This swatch is based on a ‘multiple of z2 stitches, but to balance the patter, youll need an extra edge stitch, Inctease + st on the fist row and decrease It on the last row of each Block to work this sixstiteh cable with 2 sts In reverse stockinette stitch on each sideCIRCULAR KNITTING Working in the round on double-pointed needles was probably the most common method. of knitting until the end of the ninteenth century. Today, many knitters are rediscovering the advantages of this technique. Because the right sce of the work is always facing, i's actually easier todo almost every type of knitting in the round, including cables and especially stranded color pattems, For stockinette stitch, you just knit every sound, Ribs andl moss stitches are worked inthe Same way buton an even numberof sites. or garter stich, youl ‘ced to knit and purl alternate rounds, Working from chats is simple: you just read eaeh rows ofthe chart fiom right to left, omitting any ede stitches, Cables ean be crossed ‘on any ro tvst itches can travel on every ro and color patterns ate followed mote easily. All kinds of seamless garments can be mae in the round — hats, socks, gloves, and sweaters, Flat and round knitting can be combined to create garments that need the ‘minimum of sewing up. > This medallion Is worked in sic sections. The increase is a yarn-over made atthe start of each section, giving a swirled effect, KNITTING WITH DOUBLE-POINTED NEEDLES Double-pointed needles can he bought in sets of foue of five needles. Four is the mininnum pumber of needles that can form a round ~ thece necdles to hold the stitches and one to knit with, But you can use as many double-pointed needles as you need for a larger project. ‘4 cast on In the usual way, cividing the umber of stitches between all but one of the needles. Making sure that the stitches ‘are not twisted on the needles, bring the frst ‘and last needles together and use the spare needle to knit with At Ast It feels Uke all needles and not much knitting, but once you get the hang of organizing the needle tis, one end under and one over, youl ‘soon speed up. Take care to pull firmly on the yain each time ‘you work the first stitch on a new needle, or you could leave a ladder of loose stitches. KNITTING WITH A CIRCULAR NEEDLE Circular needles are perfect fr knitting larger projects in the round, “Ta star, simply cast on, then bring the mecdie ends together and knit, Before knitting the fist round, make sure thatthe stitches are rot tvisted around the needle, Check again when you've worked the Bist round, or you could end up with a permanently wwisted loop of knitting instead of a tube, Change to a smaller circalae ricedle of a se of double-pointed needles if you decrease and the sthes no longer side easily around the original needle, WyTPC ER URES LEAL Esesa TUCKS AND PLEATS ck rears ‘The curl of knit stitches rlting over putl stitches can be used to Knitted fabrics needn't be flat. You can make make a pleated fabric. Because they're based on rib, these stitch patterns make the fabric narrower and longer. three-dimensional effects like tucks and pleats without using a sewing needle, To kot this kites pleat effect turn to page 52 and the Tiee and Flags patter, Cast on a multiple of eight stitches and repeat the stitches of one fag pattem only. TUCKS Tucks are usually worked in stockinette stitch and are similar in construction to the hems on page 34. On the right side, fold your knitting along a row and knit each stitch on the needle together with the back loop of each corresponding stitch of a previous ‘on. Stitches can be joined across the row to give a corded effect for to make a casing, You can use small groups of stitches to ‘make bobbles. For a small bobble, turn, work five rows on three stitches, then join by knitting these stitches together with the three of the first row ‘TRUE PLEATS Plan your pleas In stockinette stich and define the folds with slip stitches on right-side rows. Slip one stitch with the yarn in front for an inside fold; slip one stitch with the yamn at the back for an outside fold. At the top of the pleat, divide the stitches into three ~ for the face, turn-back, and underside. Sip these groups on to double-pointed needles and turn the needles to fold the fabric. Knit one stitch from each of the three needles together each time to clase the top. Baste the pleats before pressing “This method can be used to make knife-edge pleats, box pleats, or inverted pleats, ‘A The heavy tuck has a purl ridge along the fold, while the smaller tuck has a picot edge. The cord Is only four rows deep and the bobbles ate actualy small tucks,beat Making an even, looped pile over ; a the surface as you knit is a gee : Ie = sa fascinating process. Much of the inal effect depends on the type of yarn used and whether the loops are cut or uncut, Loops are usually worked on alternate rows so that they all lie 01 the right side of the fabric. The density depends on whether the loops are made with one oF moze strands and whether they are worked on every stitch or on alternate stitches. Experiment with these two basic techniques to decide which suits your yarn. > siete Loops Worked in cream wool and cut to give 2 sheepskin effect, > DOUBLE LOOPS: Worked in a textured stretch yam for a clase pile surface, SINGLE LOOP ‘This isa very sccure loop that can be cut without unraveling, fs made on right-side ros of stockeite stitch of garter sich, ‘A Knit a stiteh, but dont sti. it off the needle. Bring the vain to the front between the needles, take it clockwise around your left thumb and back between the needles, Kit the stitch on the left needle again and slip it off in the usual way. A Insert the left needle into the fronts of the two new stitches on the right needle nd knit them together through the back of the loops. When the knitting is finished the loops can be cut or they can be left uncut DOUBLE LOOP Clusters of loops ean made on wrong-side rows of garter stitch ‘These clusters consist of to loops but you can make triple loops in the same way > Insert the neadle in the next stitch as ito kn, but take the yain over the right needle and fist two fingers of the left hhand twice, then over the needle again, Draw through, making three loops fon the Hght needle, then insert the let needle and knit In the back and front of the loops to make two stitches on the Fight needle. Lift the fist stiteh over the second and off the needle. This locks the loops fairly securely, but don't cut them.SLIP STITCH COLOR KNITTING If you want to create multi-colored knits but are worried about handling more than one color yarn at a time, then p stitch color patterns are the answer. Only one color is used in a row. ‘These pauerns are an easy way to create color effets — hecause the slip stitches are slipped to take the color over wo rows. You don't rnced to strnd colors along the raw: For a reversible pattern, you'll sometimes need to work wo consecutive rows in the same direction, so use a cireular needle or double-pointed needles 10 sake it sy to slide the stitches along to work from the other end, GINGHAM CHECK Multiple of 4 ts plus 2. Colors A, B, and ¢. Cast on with A 1st row (RS) Using A, k and row Using B, p2.[sl2wyi, p2] to end. {3rd row Using 8, K2, [sl2wyib, ia] to end, 4th row Using A p 5th row Using C, slawyib ka, Slawyib] to end, {6th row Using C, slaw Ip slawy/f] to end, These six rows form the patter Astitches are putted on all swrong-side rows, so thls pretty check looks lke stranded color knitting. When ‘choosing your colors, for a true gingham effect, “A” should be the medium tone. Stip Stitew Coton Kwittinc 331 SPOTTED STRIPES 4 8y slipping stitches anc sliding at row ends you can achieve the effect of spots in the stripes. On the other side, the colors ate reversed. After the first few rows, i's very easy to keep your place in this patter. Multiple of 4 sts plus 2. Ceular needle. Colors A and 8. Cast on with A, slide. Ast row Using B, pt, [ks pt slavyib, ps} to end, turn, 2nd row Using B, kt [sly ky ps, kil to end, slide. [3rd row Using A, ks, [pt kt] to end, turn, 4th row Using A, pt, tks, pil to end, slice ‘5th row Using ®, pa, ts, slit, kt, pal to fend, tun 6th row Using B, kt, [p, sliwyib, pt, ka] to end, slide. 7th row Using A, 38 ard row, tur 8th row Using A, as 4th row, slide, These eight rows form the pattern.BEADS AND SEQUINS Knitting beads or sequins into the fabric gives some very exotic results. They can be worked all-over, in a regular pattern, or at random. THREADING ‘The beads or sequins must be threaded on tothe yarn before heing [knitted into the fabric. If possible, buy beads or sequins ready strung, tie the fine nylon thread co the end ofthe knitting yar and sli them on tothe yarn. Thread an estimated quantity and whem these are used up, break the yarn and thread a fresh ‘quantity: Do this a the end of a row and dara in the ends in the usual way \ “4To thread loose beads, 2 take a piece of fuse wire ve about 2 in (scm) long, lay the end ofthe knitting yarn across it, then bend iti half Twist the two ends of fuse wie together and thread the beads, “Working on alternate stitches and altemate roves ives this allover effect. Slip several stitches to accommodate a large bead or bugle bead. SLIPPING BEADS ‘The easiesc way’ to knit with beads i the sip stitch technique, which ean be use for almost any size of ornament. I's worked ‘on the right-side of stackinette sich, € Knit to the stitch whore you want the bead, and bring the yain to the front. Side the bead along the yarn, and push it firmly up against the needle, as shown, Slip the stitch puriwise, take the yarn to the back, and knit the next stitch, This leaves the bead suspended in front of a stitch. KNITTING SEQUINS ‘Scquins can also be worked by the slip stte technique, but they beter it they are worked intoa stitch, This i done on the wrong side of stockinette site “4 Purl to the stitch where you want the sequin, inser. the needle, take the yam around in the usual way, then slide 2 sequin down to the needle. Complete the purl stitch, pushing the sequin ‘through to the right side of the work. Secure the sequin fon the next row by knitting inta the back ofthe stitch 4 Because oftheir flexibility sequins can be pushed through a stitch more easily than beads, Closely worked beads or sequins can be used for bands and edgings a5 well as the whole fabric.EMBROIDERY Embroidery has a great affinity with hand D knitting, you can use the same yarn, a Ce) tthpem venir taroence Plain stockinctte can be used as a base or other st provide markers for positioning the embroidery, Use a tapestry needle and work between the strands of the kaitting, rather than splitting the yarn, Because embroidery doubles the thickness ofthe fabric, i's better not use for solid areas, DUPLICATE STITCH Also called Swiss darning, this isa clever means of imitating ‘multicolor knitting in stockinette, 4 Bring the needle out at the base of a stiteh, Insert it from right to left under the two strands of the stitch above, 2 Take the needle into the base of the first stitch and out at the base of the next stiteh, Continue ‘making each duplicate stiteh fom right to left, covering kated stitches, Emsmoipeny 333 CHAIN STITCH Linear designs are very effective in chain stitch, Instead of working chain stich with a wpestry needle, try using a medium: terfine crochet hook ~ it's easier and faster, Chain site can also look: very eflectse worked in the same yarn and color as the sockinette base 4 Hold the thread undemeath the work with your free hand and hold the ‘rachet hook above, Take the hook down through the kelting and pull up 2 loop of yam. Insert the hook in the rest stiten and pull up a second loop through the fist. Continue in this way working between knitted strands, > These motis were made freely with no guidelines. If you want to work a vertical line, pethaps up a rib, skip a strand occasionally to keep the chain Wying flat. EYELETS Single and double eye stockinettecan be ov with matching or cont stranid tapestry yarn, Work the eyelets at random or embellish a lace stitch pattern “4 Use a single strand of tapestry yain to make a line Of running stitches around the eyelet, then overcast the running stitches and the edge of the eyelet.ee EE LOR HOW TO DESIGN Inventing a design is simply a matter of common sense, a few calculations ~ and your imagination! ‘There are probably as many diferent ways of working out ast of instructions as there are designers but here's some advice get you started. First, you need a source of inspiration. The idea fora design ‘may be inspired by the texture ofa yara, an exciting range of colors, a fishion tecnd, a combination of stitch patterns, a motif, or a ‘onstruction technique. Next choose your yarn, experiment with, stitch patterns, and knit up some swatches. When you're happy With the look and feel ofthe watch, each forthe tape measure and the calculator, and begin to plan your sweater Measuring You'll need wo sets of measurements to work out your design. Fiest, write down the gauge of your swatch as so-many stitches and so-many rows to 4 inches (10 cm). This will be more aecurate than measuring a smaller unit such as Linch (1 em), Do the same far the row gages Second, plan the size and shape of each piece you're going to knit The easiest way to be stre that you'll get the fit you want is to measure an existing garment. Alternatively, you can take your body measurements and add movement room to suit the style @ Experiment fist with a natura {iber yar, Then, ifyou need to Unravel section of your ritting, you can simply steam ‘out the crinkles by holding the ‘yor over a recently boiled kettle, and reuse the yon | Rewind it very loosel of your design A.A SIMPLE SWEATER These two vatlations on a simple drop-sleeve sweater show how diferent proportions can be used to create two sweaters ‘measuring the same from cu to cuff Using the diagram above asa guid, lin your measurements. All knitting measurements should be taken with the tpe measure held straight along rows or stitches — never take it around curses or along shaped edges, The diagram shows only bal ofthe sleve, so the top edge and cuff edge measurements must be doubled when calculating the width of the sleeve. Fora fiued style or a shaped armhole, you'll need to take moze measurements, It's a good idea to decide on the proportions of your des making a scale drawing on graph pape allowing one square f ‘each inch of centimeter. This is useful if you are calculating the shape of a sleeve top in relation to the depth of an armhole, since the number of stitches and rows in the corresponding edges may vary and must be calculated separately Ifyou are working out unfamiliar shapings, you could make 2 full-size paper pattern hefore you think about stitches and rows. abyNumber crunching slate your measurements into stitehes and row: for for speed and aceuracy: Here, measurements are inches and centimeters, but always work in one or the other mix them, For example, if your gauge is 22 stitches to four inches (10 emp, divide the stitches by 4 (10) to give 5.5 stitches per neh (2.2 stitehes per em). How many stitches to cast on for a width of 24 Inches with a gauge of 5.5 stitches to one Inch? 5.5 multiplied by 24 = 132 stitches How many stitches to cast on for a width of 61 centimeters with 1 gauge of 2.2 stitches to one centimeter? 2.2 multiplied by 61 = 134 stitches Calculate the number of rows to a given measurement in the same way, using the row gauge. Wow ro Design 137 Planning repeats If you'e using stockinette stitch, you can cast on the precise will be lost in the side seams when they are sewn up). A subiract a stitch or two to balance a ribbed edge. IF you're textured stitch pattern, you will have to calculate how m: ‘multiples ofthe pattern — plus any edge stitches — come elosest 10 fiting into your measurements. Check the row repeats in relation to the length in the same way. Stockinette can be worked on any number of ows, but if working in a textured stitch, you may want to shape the shoulder or neck at the end of pattern repeat, or on 2 specific pattern row to avoid an tugly break. Change measurements of adapt stitch patterns until you! are happy with the proportions of your design, Y PLAN YOUR GARMENT Before you measure up and plan a garment, make sure you have. diagrams, swatches, and samples of yarn to hand.PLAYING WITH Chart motifs inavidually before planing the desion A Kelims and old woven textiles are a rich sour The designs are geomet which makes them easy 10 interpret on a char, Fill nthe backaround: ‘nthe chart with one. “olor, then shade it hen you kat working shaded stripes the background — and crea quite large, they specif Tend themselves to. intarsia multi-color knitting (sce pages 114 — 123), which means that you only have to establish a Mockinette-sitch gauge in the yarn you want to use in loner to estimate the size of your design Although individual mosis may he very simple in shape they provide plenty of possibilities for playing with calor, The natural dyes used in many antique carpets. contribute to a weaving effect called abrash, in which shades and tones of nixedinan arbitrary moti lita this byPuavine with Cotor 339 SMALL REPEAT PATTERNS Ifyou love multi-color knitding, you'll ind inspiration swherever you Took, This litle Buddha figura, with its patterned and plain atsas, sparks off lots of color combinations for these swathee When you choose colors, don't worry too much about matching them exactly your inspiration. A color may look too bright in the Dall, but used intiny:amounts i will wake up the softer shades, Mic inded knitting technique (see pages 104 — 105), then aid more colors oF incorporate tiny areas of ina simply start (0 knit and change the colors whenever you like, olor mare than Srerepen toaee the fect of he D> Use a chart with « small Fepeat, such as the Fair Isle Pectie patterns, and try out the effect” of changing the background color and the pattern color each time to give 4 flickering striped effec. The motifs don't need to be very complicated, as even the simplest litle patterns come to life iryou yet the colors right This try pattem ios ver af ferent 15 the clone change140 Desion amp INSPIRATION: CROSS STITCH | ae ADAPTING A | CROSS STITCH = cHart Keen color knitters are offen tempted remember that each cr d stitch is a wid tthe de dite then Bill n the desig. Light letters on o dork backeround emphasize the ‘ypegrephical effect.Desioniuc A Morty at DESIGNING A MOTIF ‘A Deaw the Mowers as accurately as you ean given the limitations of A Charting @ Mower pattern is 4 fascinating project to take that's such as the graph paper, which make true curves dificult, Stull motifs can be worked in stranded kniting, 4 Larger motifs or posies of Aowers are best ifthe smull areas of knitting swatches u desired 6 Try designing subtle vatationsnerens oF working identical flowers chatt until you desired effect,PLACING A MOTIF ON A SIMPLE SWEATER Make on enlarged photocony to Rep you ead the chert9 pce a DESIGNING A CARDIGAN Y Although bands can either be picked up or worked separately and sewn on, the smoothest bunds are those kaitted in with the fronts, For the bands, choose a stitch partern with a vertical tighter gauge than that used Tor the main fabrie—for example, garter stitch swith a stockinette \dd the numberof band stitches to each front, and cha tattern each time you work them. Mark the buttonhole positions on your chart, and work them ia as you go. Fora V neck, decrease in the main stitch pattern next the band stitches Buy buttons before you make the Eutronkoles, fringe ond keep it witrihe chart for reference. 1A Scattered motifs like these Floating leaves ate ideal for cardigans. All you need ta dois to plan the size of the back on raph paper, then mark the position of the front edges and the shape of the neck. When placing the motifs ~ apparently at random — make sure that ‘only whole motifs are on the fronts, To avoid having a hand- sized gap on the back, you can make each front exactly half the width of the back,COMBINING CABLES AND COLOR Some hearts| ‘oe colar knitted, some hearts it moss stitch, Double moss side ponels end sleeves, ¥ Creating a de other repeat pattern out the measurements. The only difference is combining cables with another stitch patt cables together, you'll nced to take the g and stitch pattern separately. Calculate the size ofeach pan, then, ada them together to establish the width. ‘To adjust the design to get the measurement you want, change the number of sitees Fetween panels n with cable stitches is just lke planning any Il you have to da is use the Cable pone con be ver effective used as an actent fo your design Here, th fame rous of heart motes wth double moss stitch ot ach side. Experiment with \usdeval edoinas Instead of 6EST aR EAE o: SeReUL See cee @@ vesicninc a CIRCULAR YOKE ; Gireulor yoke with Secreases “rejoined in cern will Between the h effect pattern, as the yoke is decreased, 4 There are tivo ways to plan a you get up tothe neck,GALLERY You can knit a work of art to hang on the wall, but you're more likely to make something to wear, just as knitters have done for generations, Here you can see a selection of vintage designs, then turn the pages for a look at the best in contemporary knitting, Nostalgia This collection of old knitting patterns is an insight into the fashions of yesterday. 1920s The comfort and elasticity of knited fabric has ad it popular for baby clothes for at leat a century. Kaitting magazines, such ae this one on the leit, comtain interesting easly baby knits, including items such as body belts and gaites, In the easly pact of the twentieth century, Fite boys wore skirts and looked remarkably like bite ills: Bucas they grew up, in spite of keeping their urls, they wore more hoyish clothing, like this two-piece suit, boom left ‘The movement away ftom structurod, corsced fashions brought knitwear to the fore. This Tong lace-stith sweater, right, worn with ‘och hat, i typical of the 1920s As porting atvitiesbeeame popula leisure Pursuits, more kaiting was worn, Bair Tole golfer alike, see right, Cyeling, skating, hiking, and, in England, cricket all generated ested Fashions 1 19 be worn by golfers and non- 1930s Folk traditions began to be adapted for fashion and everyday wear, One such strong influence was the ‘Tyrolean look, which was popular for at least a decal ‘This is ypieal of another kind of pretty, patterned design with a close-fiting modera shape which was copied at home by fashion-conscious Knitters1940s During to workd wars, ted. garments were 9 most for fefviceren and wane ten ie ee ee eae ee treat austerity — fashion wis extreme to he pont of exaggeration, Shoulder were Reavily padded to give a clearcut silhouette ani Inti was no exception, Anyone whe could kil could prodice the atest look “There was ks choice in eady-made clothes ») in the 1940s and people cconomized iy GandUaicinge waren (Wat ve ‘woulda dream of making tay inloding Hagler, ntain, ota cana Nostaccia 1950s By the middle of the twentieth century, fashion became more li hearted and informal, A chunky pictorial svveaters and jackets swept across the United States and Britain At about the same time, the *Sloppy Joc" sweater was Worn, in places ranging from the United States wo the left bank in Paris, France 1960s As the 1060s progressed, hand-knining lent itseli to all kinds of Fashions, from mini skits to hot pants. Sinee then, knitting has ‘established a sense of identity based on its own traditions, ra than merely imitating other trends Arn cabled kniting had a ff revival of popularity and spread tw catwalks and stores across the fl world, Here Aran is shown looking lashionable, rather than homespun, 147148 GaLeRy CONTEMPORARY DESIGN Fresh and full of vitality, knitting today is an’ eclectic mix of traditional techniques and modern style, Kaffe Fassett Kafle’s distinctive > hand knitting has per Hero, a multitude of bright and rich colors flicker across a whitl of tiny triangles,<< CHINA CLOUDS > ROSE PETALS Ovals of color seem to atral thisThis page is missing....... if you have it, please share with me............ thank you so The Encyclopedia of Knitting Actual Page missing in book is pg 152. Thanks for your help.KNITTING FOR KIDS 153 KNITTING FOR KIDS Style and fashion sense start early with 4 KATIE MAWSON HEN AND FISH SWEATERS: Farmyard ani seaside themes give a picture-book feel to these colorful designs these designer hand knits and toys. ‘A DEBBIE BLISS SMALL RABBIT. WITH SWEATER: Debbie is well known for her children’s knitwear, but she also designs osiginal toys like this eute rabbit 4 ALICE STARMORE ELEPHAN'TS: Silhouette are shaded ia Fair ‘4 JEAN MOSS POOKA: Calor patterned borders and a mixture of eables and zgartcrslitch are sed to make this bright, hutton-neck sweater, Isle style for this litle ves.KNITTING : cso nl FOR FUN LEOPARD) AND A sense of humor and a wild imagination CAT: These fun) knitted in ' characterize these works of art. A LEO KNITTED ‘TROPHIES: Is it 1 sock or is ta glove? No, art inspired by childhood memories of shadow pup ‘A FREDDIE ROBINS TREE COSIFS: ‘These witty knits area verbal pun and visual joke,Wontpwidg Color 455 @ Big WORLDWIDE “)> COLOR te 5 Past and present combine in these Se recent examples of Peruvian and Turkish traditional hand knitting. ‘A EASTERN TURKEY GLOVES: Simply shaped 10 fitcitherhand, these gloves are patterned Front and back vith tassels on the fingertips. ‘A EASTERN TURKEY. SOCKS: ‘These cream and black traditional woollen socks are in stitch and patcern, ‘4 EASTERN TURKEY SLIPPERS: The moti on these modern slippers are inspired by traditional. socks and interpreted in bright synthetic yarns. tee) j EA! > SOUTH AMERICA PERUVIAN HATS: Fine yan ‘A SOUTH AMERICA is hnited in the round! on PERUVIAN MARKETPLACE: These itd atsarea hook ness to make thee roe llinedpetalo-and cern intel patterned batREADING CHARTS ach square of the chart presents itch and each soe of squares represents oy of ie, ‘The numbers up the sides athe cha afl you get progres ora ue bat no the top ofthe ary ike king sel All ros thot are numbered onthe sight-hand side ofthe cast are rea Irom tha side and represent right-side os. rows that are numnbicred on the le-hanl side ofthe chart are read fom tse and represent wrong side rows lace squares or blak ateas on charts are not inched in a stitch count, They are wed where stesso ne exist or example, where a stich is lox by decreasing ands nt compensated for with an increase), Shade acis show clgestches ar eta stiches wed to tolance panerns: Unshaded urea sows panel 0 the ‘nulkple of sites wo repeat. The number of itches a panel or multiple is given uncencath the char, pli the entra stitches (for example, a mauliple of 8s pls 2 means multiply 8 by the number of repeats required and then add the 2 end stiches to balance the pat Sometimes stitches ae outline t0 make realing the ehareaser~this doesn't aet how the etches work KEY TO CHART SYMBOLS vA a va x wee oa om Kon RS rows, pon WS rows pon RS ro, kon WS rows Jee on RS ss, pli on WS rows no site sllwyifon RS rows, sltwpib on WS rows sDupifon RS rows, sI2upib on WS rows Bib on WS row sllwyib on RS roms, allyifon WS rows ‘ein front anal back of site lite strand beswcen stitches snd Kio back oft life strand between sites and pinto back of it Jam forward and over newer make ast 12 together ngcther sll ins, kl, pase lipped er sll Tninwis, tog, pass lipped sever sl2as asta work Kog, Kl ss lied sts over sIl st onc cable needle ani hold a back; A, then Kl rom eae nail sItstom wo cable needle and ot a rom; KI ther KI Tron eable nese ‘om thee RS or WS rows, Isto c cable nelle and hol a bck pl, thea Kl fi meable ‘on ether KS or WS rows, st ston to cable nee and hol at from pl then kl Fo cab ace s12ss on to eable ele and hold at back; kl then p2 hom cable nese s1L ston t cable ngeleand hold at front; p2 then kl frm cable nestle sIt ston to cable ncedle and hold at backs k2, thea pl rom cable needleas moma xEN aes woes re a 4 sco to cable moe ad ali trot ly then 2 from cable needle s02 sts on to cable nese ad hold a back; R2 then 2 from cable needle S12 ts om to cable nee and hold font 2, then h fom sable neal 412 som o cable nce an old at backs 2, then 2 from cable needle lds on to eable needle anal at font 2, then 2 From cable needle sll ston to eae ncale and hold a hack; 13, then pl rom cable nese s18.ts 0 to cable nedle and hold at font pl, then I from cable necle 415 te oa to cable nail and hol a hack; 42 I stom cable ncedle onto lef meee and p shi 2 fom cable ncele 413 ts on to cable necle an old at back 12, Ist from cable necdle on to le needle and this, 12 fom cable needle S12 son eae nese and hold at backs, then p2 from eable neces 413 sts on to cable ewe and ol at font 2, shen I fim cable nce S13 ss on to cable needle and hold at backs K then from cable necle «18 se on wo eable neces ol at font 3, shen 1 Fm cable needle kc into font af 2a tk into back of Ist sy both ss oF et neville gether into font of 2nd st, into fiat of Lets both sof eft neal together 2nd st into font of It at both as of left cl together pinto back of Dd, kino fron of Lat bath ss oe needle together Tinto Gant of Sadat chen 2nd sh Ist fs sts oF et nese tngcthee imo font offs, p int font af Lt shen 2nd, 3x off nee Ihe 2nd into font of Ist st 3 sof ft needle 1 into back of ed NEEDLE Mette American “ we v2 3 31a 312 334 4 4 w Bo w su me 7a. 8 4 5 B 5 SIZES old UK sizes 4 1s 2 u 0 ABBREVIATIONS 1 hp —on WS rs sts an a Eable nelle and bold at back then Gorn cable needle Sip WS s,s onto eable needle and Ill at font, 2, then ki + p= pur + ran — remaining RS righ side + sky all knee, pas sipped st over + kpo —sB ss asifto work ktog, kl pas slipped st over Sal stip sok It then 2nd st knits, ict let needle int ts and Ko fo) = stitches tb] -ehvough back of h + ith yen in back sey wth yarn it rane WS — wrong side © yd —yarn forward + yo — yarn over neale ++ sileioa nese +] work insirveions in backers deetedGLOSSARY Aran ~ sweater design with cables, bobs, and testured titch pstterns in atuel, cream woo; originally associated with the Aran Ilan Teland, Scan now mean design svith able paterns Angyl-Seotsh tartan sock pattzen, now wed vo describe a diamond prtern with 2 superimposed plaid back (of work) - the side ofthe work away from he Sater bobbin = (i) shape for ‘vinding on lengths of | sam sed fr muli-e Lita Gi) wooden tobe swith fue pegs at top vsed exit tubular king rise -yorn with sutace hats rise in the ‘casting on - making stitches on acc a art of ork casting of binging of) closiog itches seen of chart -() grid with colors forsymnbolsrepreseating oa or stitch patterns (i) ‘comple garment shape marked out on graph paper crossed sitehes-ttshes worked theo the back ofthe lop. cepelets- holes made with yorn-cvers and decreases; par of lace stitch pattern ir Ie -stinctve paterns in stranded «olor knitting originally associated wih the Seotish island often used 10 Aescribc many sles of rolti-colorkniting faggot «Lace sth pattern Using yan-overs and cress on every row font (of work) - the side lt vor facing the koiter ster site basie seh poten either nit eery range (the number of stiches and ys toa given reasrement leo kaswa as tension (i advice for measuring the size of ening needles Ientise inserting the cede as io knit ‘manmade yarns - yaras fhoen fiers made by chemical processes multiple a number of stitches groped to form repeat pater alan row natural fibers animal elie eh a paca, ‘molar or wool: plant fie, such as ension one pane!

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  The Gansey Knitting Sourcebook: 150 stitch patterns and 10 projects for gansey knits

  Di Gilpin

  Rating: 5 out of 5 stars

  5/5 (1)
• Fair Isle Knitting: A Practical & Inspirational Guide

  

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  Fair Isle Knitting: A Practical & Inspirational Guide

  Monica Russel

  Rating: 5 out of 5 stars

  5/5 (2)
• Knitting for Anarchists: The What, Why and How of Knitting

  

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  Knitting for Anarchists: The What, Why and How of Knitting

  Anna Zilboorg

  Rating: 4 out of 5 stars

  4/5 (51)
• Mosaic & Lace Knits: 20 Innovative Patterns Combining Slip-Stitch Colorwork and Lace Techniques

  

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  Mosaic & Lace Knits: 20 Innovative Patterns Combining Slip-Stitch Colorwork and Lace Techniques

  Barbara Benson

  Rating: 5 out of 5 stars

  5/5 (4)
• Patterns for Guernseys, Jerseys & Arans: Fishermen's Sweaters from the British Isles

  

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  Patterns for Guernseys, Jerseys & Arans: Fishermen's Sweaters from the British Isles

  Gladys Thompson

  Rating: 5 out of 5 stars

  5/5 (3)
• Shawls, Wraps, and Scarves: 21 Elegant and Graceful Hand-Knit Patterns

  

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  Shawls, Wraps, and Scarves: 21 Elegant and Graceful Hand-Knit Patterns

  Louisa Harding

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• Top-Down Knit Sweaters: 16 Versatile Styles Featuring Texture, Lace, Cables, and Colorwork

  

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  Top-Down Knit Sweaters: 16 Versatile Styles Featuring Texture, Lace, Cables, and Colorwork

  Corrina Ferguson

  Rating: 5 out of 5 stars

  5/5 (5)
• Knitting Classic Style: 35 Modern Designs Inspired by Fashion's Archives

  

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  Knitting Classic Style: 35 Modern Designs Inspired by Fashion's Archives

  Véronik Avery

  Rating: 4 out of 5 stars

  4/5 (32)
• Knit Knitavian Style: Allow Your Knitting Adventures to Begin.

  

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  Knit Knitavian Style: Allow Your Knitting Adventures to Begin.

  Margaret Nock

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• Knit Like a Latvian: 50 Knitting Patterns for a Fresh Take on Traditional Latvian Mittens

  

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  Knit Like a Latvian: 50 Knitting Patterns for a Fresh Take on Traditional Latvian Mittens

  Ieva Ozolina

  Rating: 5 out of 5 stars

  5/5 (4)
• Knitting New Scarves: 27 Distinctly Modern Designs

  

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  Knitting New Scarves: 27 Distinctly Modern Designs

  Lynne Barr

  Rating: 4.5 out of 5 stars

  4.5/5 (4)
• Fair Isle Knitting

  

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  Fair Isle Knitting

  Sarah Don

  Rating: 3.5 out of 5 stars

  3.5/5 (15)
• Beginner's Guide to Colorwork Knitting: 16 Projects and Techniques to Learn to Knit with Color

  

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  Beginner's Guide to Colorwork Knitting: 16 Projects and Techniques to Learn to Knit with Color

  Ella Austin

  Rating: 4.5 out of 5 stars

  4.5/5 (8)
• Knitting Stitches VISUAL Encyclopedia

  

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  Knitting Stitches VISUAL Encyclopedia

  Sharon Turner

  Rating: 4 out of 5 stars

  4/5 (7)
• Japanese Knitting Stitch Bible: 260 Exquisite Patterns by Hitomi Shida

  

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  Japanese Knitting Stitch Bible: 260 Exquisite Patterns by Hitomi Shida

  Hitomi Shida

  Rating: 4.5 out of 5 stars

  4.5/5 (35)
• 280 Japanese Lace Stitches: A Dictionary of Beautiful Openwork Patterns

  

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  280 Japanese Lace Stitches: A Dictionary of Beautiful Openwork Patterns

  Nihon Vogue

  Rating: 4.5 out of 5 stars

  4.5/5 (7)
• Knitting Counterpanes

  

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  Knitting Counterpanes

  Mary Walker Phillips

  Rating: 4.5 out of 5 stars

  4.5/5 (31)
• Knitted Socks East and West: 30 Designs Inspired by Japanese Stitch Patterns

  

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  Knitted Socks East and West: 30 Designs Inspired by Japanese Stitch Patterns

  Judy Sumner

  Rating: 4 out of 5 stars

  4/5 (15)
• Small Knits: Casual & Chic Japanese Style Accessories (19 Projects + variations)

  

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  Small Knits: Casual & Chic Japanese Style Accessories (19 Projects + variations)

  Yoko Hatta

  Rating: 5 out of 5 stars

  5/5 (1)
• Contemporary Irish Knits

  

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  Contemporary Irish Knits

  Carol Feller

  Rating: 4.5 out of 5 stars

  4.5/5 (11)
• Field Guide to Knitting

  

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  Field Guide to Knitting

  Jackie Pawlowski

  Rating: 4 out of 5 stars

  4/5 (13)
• Traditional Knitting Patterns: from Scandinavia, the British Isles, France, Italy and Other European Countries

  

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  Traditional Knitting Patterns: from Scandinavia, the British Isles, France, Italy and Other European Countries

  James Norbury

  Rating: 3 out of 5 stars

  3/5 (29)
• Knit Like a Latvian: Socks: 50 Knitting Patterns for Knee-Length Socks, Ankle Socks and Legwarmers

  

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  Knit Like a Latvian: Socks: 50 Knitting Patterns for Knee-Length Socks, Ankle Socks and Legwarmers

  Ieva Ozolina

  Rating: 5 out of 5 stars

  5/5 (1)
• Amy Herzog's Ultimate Sweater Book: The Essential Guide for Adventurous Knitters

  

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  Amy Herzog's Ultimate Sweater Book: The Essential Guide for Adventurous Knitters

  Amy Herzog

  Rating: 5 out of 5 stars

  5/5 (3)
• The Principles of Knitting by June Hemmons Hiatt

  

  Document15 pages

  The Principles of Knitting by June Hemmons Hiatt

  Simon and Schuster

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• A Collection of Vintage Knitting Patterns for the Making of Summer Tops for Women

  

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  A Collection of Vintage Knitting Patterns for the Making of Summer Tops for Women

  Anon

  Rating: 5 out of 5 stars

  5/5 (1)
• Lace Knit Shawls, Sweaters, Socks & Hats: 26 Designs Inspired by Japanese Stitch Patterns

  

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  Lace Knit Shawls, Sweaters, Socks & Hats: 26 Designs Inspired by Japanese Stitch Patterns

  Birgit Freyer

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• Knitting All Around Stitch Dictionary: 150 New Stitch Patterns to Knit Top Down, Bottom Up, Back and Forth & in the Round

  

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  Knitting All Around Stitch Dictionary: 150 New Stitch Patterns to Knit Top Down, Bottom Up, Back and Forth & in the Round

  Wendy Bernard

  Rating: 4.5 out of 5 stars

  4.5/5 (4)
• A Collection of Vintage Knitting Patterns for the Making of Winter Cardigans and Jumpers for Women

  

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  A Collection of Vintage Knitting Patterns for the Making of Winter Cardigans and Jumpers for Women

  Anon

  Rating: 5 out of 5 stars

  5/5 (1)
• Khaki Knitting Book

  

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  Khaki Knitting Book

  Olive Whiting

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• The Shape of Knitting: A Master Class in Increases, Decreases, and Other Forms of Shaping

  

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  The Shape of Knitting: A Master Class in Increases, Decreases, and Other Forms of Shaping

  Lynne Barr

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• A Collection of Vintage Knitting Patterns for the Making of Winter Underwear and Nightwear for Women

  

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  A Collection of Vintage Knitting Patterns for the Making of Winter Underwear and Nightwear for Women

  Anon

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• 50 Shades of Stitches - Popular Ribbing: volume 1, #1

  

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  50 Shades of Stitches - Popular Ribbing: volume 1, #1

  Marina Molo

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• The Mitten Handbook: Knitting Recipes to Make Your Own

  

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  The Mitten Handbook: Knitting Recipes to Make Your Own

  Mary Scott Huff

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• Knitted Animal Socks: 6 Novelty Patterns for Cute Creature Socks

  

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  Knitted Animal Socks: 6 Novelty Patterns for Cute Creature Socks

  Lauren Riker

  Rating: 2 out of 5 stars

  2/5 (1)
• Picture Perfect Knits

  

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  Picture Perfect Knits

  Laura Birek

  Rating: 3.5 out of 5 stars

  3.5/5 (8)
• Knit Wear Love: Foolproof Instructions for Knitting Your Best-Fitting Sweaters Ever in the Styles You Love to Wear

  

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  Knit Wear Love: Foolproof Instructions for Knitting Your Best-Fitting Sweaters Ever in the Styles You Love to Wear

  Amy Herzog

  Rating: 4 out of 5 stars

  4/5 (9)
• Seamless Knit Sweaters in 2 Weeks: 20 Patterns for Flawless Cardigans, Pullovers, Tees and More

  

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  Seamless Knit Sweaters in 2 Weeks: 20 Patterns for Flawless Cardigans, Pullovers, Tees and More

  Marie Greene

  Rating: 4 out of 5 stars

  4/5 (12)
• A Passion for Knitting: Step-by-Step Illustrated Techniques, Easy Contemporary Patterns, and Essential Resources for Becoming Part of the World of Knitting

  

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  A Passion for Knitting: Step-by-Step Illustrated Techniques, Easy Contemporary Patterns, and Essential Resources for Becoming Part of the World of Knitting

  Ilana Rabinowitz

  Rating: 3 out of 5 stars

  3/5 (15)
• Weekend Knitting: 50 Unique Projects and Ideas

  

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  Weekend Knitting: 50 Unique Projects and Ideas

  Ericka McConnell

  Rating: 4 out of 5 stars

  4/5 (164)