Win a K4 Knitting Machine Cabinet
together with a drawer and a pur­
pose-built chair.
The K4 knitting machine cabinet
accommodates most of the popular
makes of machine. Once in place,
the machine can easily be raised to
a comfortable work height When the
ribber is not in use, there is an easy
tilt mechanism which converts your
machine to a flat position. The
machine is easily stored within the
The cabinet itself has ample storage
space, but the prize also includes a
spacious drawer, which wheels easily
underneath the cabinet, to store all
your cones and attachments. Finally,
to allow you to knit in comfort, the
prize includes an ergonomic 1300
rotary chair, which is easily adjustable
at the back and in height for maxi­
mum comfort. The chair is fitted with
five castors for easy mobility.
Your prize will be delivered to your
door and set up for you by one of
Horn Furniture's friendly and help­
ful drivers.


must be accepted as offered.

Simply unscramble the words below
to form a sentence connected with
our competition prize. Write this sen­
tence on a postcard or on the back
of an empty, sealed-down envelope,
together with your name and address.
Post your entry to: Machine Knit
Today/Hom Furniture Competition,
PO Box 9, Stratford-upon-Avon, War­
wickshire CV37 8RS, to arrive not
later than Wednesday June 301993.

Entries arriving after the closing date
or not complying with the rules and
instructions exactly will be disqual­
ified. The competition is open to all
readers resident in Great Britain,
Northern Ireland, Channel Islands
and Isle of Man, except employees
(and their families) ofLitbarneLtd,
the printers of Machine Knit Today,
or Horn Furniture.

Entries must be submitted on a post­
card or on the back of an empty
sealed-down envelope. The judges
will award the prize to the sender
of the first correct entry drawn
after the closing date. The prize

Decisions of the judges and the Editor
of Machine Knit Today will be final
and legally binding. No correspon­
dence can be entered into. The winner
will be notified and the result pub­
lished in a future issue of Machine

Knit Today.


Carol Chambers
61 Daffodil Court,
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Gwent NP44 6JG.
Tel: 0633 871586
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Machine Knit Today
is published monthly by
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ISSN 0968-4638 (UK)
ISSN 1019-7508 (S.A.)

Lady's Colour Block

Man's Double-breasted Tuck
Stitch Jacket

Lady's Tab Collared
Summer Top

Lady's Fair Isle Trimmed
Summer Sweater

Lady's Nautical Sweater

Lady's Nautical Motif Top for
fine gauge machines

Lady's lntarsia-look Sweater
with Embroidery written for
Passap/Pfaff and Japanese


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Survey the European knitwear scene from the comfort of your armchair or deckchair with Penny Wright-Thompson Pavement frontage is ideal for customers to view the goods This retailer is even modelling one of the designs .The Maltese Experience at the Crossroads of Fashion.

The fact that knitwear is such a prominent influ­ ence on fashion here is evident by the fact that all the Maltese men wear sweaters or jerseys or cardigans as they go about their daily work . it must be said that the many British visitors who come here do take away garments for their men.The Maltese islands have a verv strate­ gic position both . These garments are produced locally and have universal appeal due to their simple. locals and visitors alike can be seen in restaurants modelling these styles in pleasant and leisurely surroundings. like models of all types. so our younger aen­ eration particularly. fleurs de lys and simplistic flowers and birds are current favourites. 'Just above the knee' jumpers are also very much to the fore on the jet setting young women.l:!11. with expen­ sive lines from Greece and Britain in the top boutiques and less expen­ sive lines from Italy and the USA. Mohair is a popular yam that is much in evidence. coats and cardigans are also very popular for women. Most of the knitwear for men has colour co­ ordinated silk or cotton shirts to match. 13t. worn with skin tight black leggings. They suit all shapes and sizes and complement anything . in fact was rather conspicuous by its absence. Bold colours and large cable patterns are domi­ nant. go for bold. Self colours are also more the choice of the Maltese ladies. THE MEN'S WEAR SCENE Men's fashions divide very clearly into two age bands . There fs some importing evident. with suede beino a favourite inset. So.even the buses have shrines on them. COLOURS AND YARNS It is obvious that the designs do have some Arabic influences. Iit. The ladies favour loosely knitted ruched style cardigans on yokes m two colours.a sight hardly seen in northern Europe or Britain. both male and female. slate grey and heather pink.iJ. SHAPES. do not depend purely on their own design skills. Crochet evening wear is another selling point . Malta also has a big fishing industry. However. in fine knit round neck sweaters with bold diamond designs or abstract shapes. but very proper. it is amusing to see the locals feeling the cold and muffled up in thick sweaters.11111�. The island pop­ ulation is very religious .lJ Malta is a beautiful island f or the fashlon conscious. The) lie at a Mediter­ ranean crossroads between southern Europe and North Africa and between eastern cultural influences and the west. pinks and pur­ ples. with the introduction of subtle east­ ern elements into the designs. CROCHET STYLE Shop frontages have knitwear on every square inch of space blending particularly has an eastern 'feel' to it. to be in the lead of fashion trends. although the young set. both in ladies' cardigans and jackets and sweaters for the younger men. although having experienced their road system and driving techniques it is not sur­ prising. visit these islands and see exactly what they have to offer in creative atmosphere and ethnic designs and bring a Mal­ tese air to your wardrobe or next season's range.5eographlcally and culturally. It must be said that Aran cable garments are so abundant here that anyone who did not know the designs originated in Scotland would think they were Maltese originals. Sleeve­ less tops and buttonless jackets are popular and Malta is renowned for its lace crochet garments. Because of this rather unique set of circumstances Malta's textile indus­ try has a definite influence on the fashion trends in western Europe. 5 . you need all the divine assis­ tance you can get! Good knitwear is an indication of social wellbeing.whether winter skirts and blouses or lightweight dresses or swim wear. and in the summer months cotton lacy styles dominate. However. Men sport smart Intarsia sweaters and cardigans .. more of a jerkin style. but in the main the Maltese support their own industries. bright designs. with heavy yarn sty !es for cooler months and lightweight cotton designs for the height of summer.18:Iiiasill. blues and mauves. The older man's styles favour zip fronts and collars. whereas the younger men are sporting 'V' neck cardigans with button fronts and dropped shoul­ der lines on the sleeves.the young and the mature. All of the local population sports elaborately patterned garments. both ages can be seen in the sleek fine knit sweaters with ethnically influenced Intarsia patterning and the abstract patterns of geometric influence in the fashion shades of dark grey. Whereas to British visitors the winter months are like our late spring.!il�3. You can see excit­ ing ranges of styles on every street corner.muted colours of rusts. Scroll designs ar popular on lacy backgrounds. and very hot and dry in summer [reaching 90°F). Red is not an evident colour. browns or purples and blues. yet pos­ itive fashlon statement. classic styles. (above 10-15°C/50-60°F). It is warm here in winter and very hot in summer. During the Mal­ tese winter our spring fashions are evident. The Mal­ tese. France and Germany. may be i flu­ enced in the next few seasons by the fashlon trends that are growing here. suits and coats are not so evident this far south the life style is quiet and rather infor­ mal.). for example. However. the colour use heavier yarns in darker shades of neutral. against the many architectural gems that its buildings provide. CLIMATE AND CASH The climate in Malta is mild and pleasant during the winter months. with local people wearing them. � . and the fashion scene is very obvious. The fashion scene here is a good indicator of what will spread into southern Europe over the season and further north to Britain. Lower budgets will find real bargains and those seeking the more exclusive. Multi-coloured designs are every­ where. so perhaps they have some original claim to Aran style as a means of identification for their fishermen too. although the yam quality is inferior to the true Aran wools. The new colour combination thls season for men is two shades of grey blended with a heather pink.• Elaborate knitwear is the fashion statement on these islands.ll!1f.f. suitable for walking out in thln cardi­ gans. high profile designs will not be disappointed either. which have very active export arrangements into Britain. Diamonds. the only self colour men's sweaters are of Aran patterning and Crochet jackets.mohair and Iurex threaded with yams to add a shimmer to an evening gown. Of course the climate here also influences what is worn. greens. They are also visited by tourists from most of the European countries. however. Everything here is reasonable whatever your budget. and their own culture has some decid­ edly eastern ethnic influences. and the locals are very sociable evening promenading in towns like Sliema and Valletta is common. Applique overlays are also well evi­ dent.�):I[1Jlr.

: �· : : : : .· .:���.• •. 58 s1 I : :i Ii . . .. ..: . : : �· �: : �� .. : : : : i : : : : :i : : :: : : : : Ii : : 69 59 .: .. 48 46 :� :: : : : : : : : :: : : : : : 111 . . . I.... i"". ... ..29Step1.. . . :: 83 : 12 . :.: ii .. .. individual sweaters to offer your clients.. . . Ii . 1:::1:::1:::: . .: : : I·••· : s I: : : I: : � � YOKE BORDERS :: · .. ll!ll!I: . •••• 11!1 : . .: i11i . . ·I . . .: i 11!1 : : i . . 44 Design emphasis on the yoke suits a straightforward dropped shoulder basic shape and is all that is needed for a smart and comfortable leisure sweater. .. :: Ii. . : . . : : : ii . : : :Ii : :: ::Ii : : : : : : : : :: : i : :I I •• •• . . There are three choice to make: yoke border. • • 0 t .. :��� 11!1···: :� ..: : .: . : : ..... : : : : � : ..... ..:: .: :. : 1111....: . . . run the cursor on the diagonal to the centre point (15..•. but a single diag­ onal line has little impact. YOKE INSERTION You will quickly sort out a method which suits you.. 11!1: :ill!I : .:.. . . . 68 9 . : : . ' ' ...:..: :. . 31 : : : : : : : : :: 29 : : 24 23 . ...: "d : : : : ii:. ·• .. · • • · ·: :: : : :i: : : : 91 11!1: :ill!I: '.. ..:: : : : �. : : Ii : 11!1 : : ::: : : 56 55 i11i � : : ii : : : : : : : : : : i : : 54 : Ii: • ·Ii : i : • .. .... .. ... . ... ... ... . .. ..·: : ::: : n 11 · 1. : : : : : : : : : : : : :: : : : : : : .. . . . . •• : .With a file on hand of knitted swatches of short float background Fair Isles and photographs.Lift the trimmed diamond. 14 13 : : 12 11 .. . . : . . .: d . :: •f. 115 . ... .. ... 10 :: : : 9 . .· 11!1 : : ::: ::Ii:::: • 105 11!1... · · : : : : ill!I : : : : : 11 103 .. . . . : :.. .. .. . .. ... . t::::: :: :: ::if :.. .... .. then move the cursor three right horizontal for a second line... . : : :1=· ..This system makes designing customised sweater$ a very simple matter indeed.: : : : . : u �� . ."': ..•. : : : : •"' : : : : : 8t 87 . ·• . (v) Diagonal line. :.. . . ' ...The key to this is the methods of erasing non-rectangular shapes using custom made design resource grids in con­ junction with Help Menu 8.... Varia­ tions:Negative function. . ... 8 7 6 :� .... 69 67 " 6 5 . •· ·•.. ·• .1 : I : : : .....::. • 78 . . . . . 6 . : : 11 : : i. (vi) Ricrac: Diagonal line double width and length. .: I ... : : . ... . 7 • : . cursor 29..· 11!1: :11:: •... iill!I : : I: : : : : 11!1 ii : 117 :11: :•.. . . .My last article dealt in detail with the process of designing Fair Isle sweaters with yoke insertions.Here are some to try: (i) Single diagonal line with every second diagonal square drawn on either side... tunic or sweater dress. double width and length.. . .� !I... :.. . . . :lill!I: . . . .. . FREE EORM There is no need for the design to be .. . . ..: . : : .··.. !Ii 63 ... . .. . ii . (iii) Diagonal line lifted and used with double width and length.� �� . I • " 67 " 65 lilil�: :I:: 64 : : : : ::: : 62 :� : : : : : : : : : .. . 78 7i 74 7Z 79 68 79 11 75 13 71 .. : : : : : : : : : 78 . .. . printouts or knitted swatches of an assortment of yokes you have the ingredients for attrac­ tive.. . .: �... then move the cursor right downward one row for a second line...... . . : :: .. ... . .. I I I .. . Ideas for insertion borders 114 1 12 110 188 106 194 102 181 98 96 94 92 113 :ii:: : : i:ll!li: :::: ::i 11· · :ii 11!1: :11 : : ::ll!li: : : m I : :i ... double width and length. 84 : : : :.��.. .. .. . 52 S . . ..... ... ..': .. H u • 11!1.. .i. . �. ... ... ... ..•... . .. .. Erase the upper left comer 4 stitches by 7 rows and lower right comer 7 stitches by 4 rows. .... : : : : .. :: 64 62 61 58 56 54 52 st 0 46 44 42 40 38 36 34 32 30 28 26 24 22 20 18 16 14 12 10 8 6 4 z 5' 57 55 53 51 H 47 45 43 41 39 37 35 33 31 29 27 25 23 2I 19 17 15 13 11 9 1 5 3 1 ..:•1!11 ... 61 .. .. · .. ... . 39 7 3 35 33 : : : Iii ii : : : : : i .. .. . • · 81 : :: : 88 : : : ii . . 22 28 19 18 17 16 15 . .:ii i. :· iill!l l!I ..Tidy up the incomplete squares on the upper and lower edges and you are left with an attractive repeating diag­ onal 14 stitches by 33 rows. Selection of small repeat background patterns There is a lot of mileage to be had from the easily managed one stitch one row progression for which the yoke erase tool (last month's pattern 906) was designed... D" . : •:.. . ' : .�1":: : : ::: :: :: 4Z 40 38 36 34 32 30 43 •.... I·•· ..... : · . . ... .�" . . . i : : : : : : : Ii :: : 53 I 1 : . ... ��: . 91 :• : : · : : : • : : : 11!1• : : : : : n 11!1 : : i 95 •·•·11!1· :· 11!1: Ii: :: :: :: 11!1: ii: 11!1: ii: :: :: :: 93 : Ii 11!1 : : Ii . (iv) Diagonal line.. ... .: . ... . : i 11!111!1 : : : : : : : : : : : 50 11!1 49 ..... . •· . yoke insertion and back­ ground Fair Isle..: .. : : ' ........ : : : . . . Many of the punch­ card and electronic collections adver­ tised in this magazine are brimming with suitable motifs or you could go back to a Stitchworld pattern such as number 20 which is a 28 stitch/row square.. · ' : :: : :: : : :: <•i••::::::::::::::: : : :11•· . .... n :I 14 7 iill!: : I :: : : : : I:: : : : : : : : 3 . :: :: 1: : ·-��::: • : • .. . . . :::: .... ... . : : :: n.: ��·: �-····�·:: 21 •• .. . 15)Step1. : : : :: :: : : : : : : : : : : : : : :. . ....:: ��. . . . · . then move the cursor one or two right horizontal for a second line. . •. � H .: . .. . ..:: ��� :: : : . ·• . ... �·•: 1:: : � : :.. . .. (ii)Single diagonal line with a lifted diagonal (Help 7) used double width and double length (Help 8) above and/or below the single diagonal. . : : �· :: .. . . : I:�: iii. . i. ' · .. .. 86 85 .. : :ill!I::::::: 10I : : : : � : : 11!111!1 : : : : � : : : : : : : : : 99 . ' . ...

In an empty area run a single line on the diagonal* then lift the motif and posi­ tion above the diagonal. Pick up Yoke Erase Tool. Using Car­ tridge II which does not have the Rotation option on Help Menu 8.1:�• Two requirements here: short floats for !lard wear and a subtle pattern which complements the yoke with­ out drawing attention away from it. Set background Fair Isle in Nega­ tive. lift the whole grid. Insert yoke and borders.e. M:t:rn:rn.artridge III. 6. You will possibly have your own method. 2. Lift this as before . Lift this. Step 1. 3. lift one complete pattern. e. 1. Cursor 1.e.6 stitch lift).fill the grid. From this number subtract 30 (a). If using a 950i read it through the machine and bring up on screen to edit. 1 to reduce the pattern to one or two repeats. Move cursor upwards the result from (a) Step. When the pat- tern is decided upon use Help 10. This makes a mismatch very easy to spot. Rotation. at this point go to Help 10. Hori­ zontal and Vertical Spread set. Establish the depth required to be cleared. Position cursor at lower point of yoke. 4. 6 x 6 . Grid is clear except for a solid 30 row deep diagonal band. say one that is 30 rows deep. Draw in the vertical pattern. Lift the whole grid.mine is this: Begin with a grid 24 x 24. yoke depfu plus two bor­ ders. Help 8. Help 8 Substitution and Negative.g.1 Step. When you are ready to clear any background for yoke insertion: 1.2 increase grid size to 24 x 36. Create new pattern to depth of gar­ ment body x 100 stitches. To complete editing the pattern erase the outlines * and *. I am using c. Run the cursor on the diagonal the width of the pat­ tern.geometric. Step 1. Tip: establish the centre of the main motif and lift the pattern from one centre file up to and including the second centre file. Some of the ones I find most useful are based on very simple line or 'dot' fillers.g.i. Neg­ ative.1.1:M•13. Run a second single diagonal line* above the motifs to set the depth of the yoke insertion.oth­ erwise key in by cursor at the bottom of a 60 stitch by 150 row grid. 5. Make a free hand draw­ ing on a mylar sheet keeping the out­ line clear and uncluttered.and con­ tinue as above from **. When both lower right and upper left areas are blocked out on the diagonal with a 30 row band in between.** move the cursor round using Step to try different effects until you settle on a result.floats.e.with no more than 8 stitches (I usually begin by lifting a square. It is better to err on too narrow Background and yoke pattern can be the same with a variation on the theme for the insertion.1 Step 1. Note the plain rows 'spacing off' the insertion 7 . Move the cursor on the same diagonal until the position of the second motif is set.tiI1J:1. Help 8. Step. Use the cursor to fill in the background within the diagonals and between the two motifs. Cursor 1. Background is in place with yoke erased ready for insertion. Tum the origi­ nal pattern to horizontal and draw in one in the empty grid space. Horizontal and Vertical spread. Now make it to the size of the smallest insertion in your collection. i. Each basic line will yield a number of agreeable patterns and so long as the stitches lifted do not exceed 8 there will be no problem with unac­ ceptably long. To test. The second and subsequent repeats are overlaid over the last file of the previous pat- tern. PREPARING THE BACKGROUND FOR YOKE INSERTION Last month the 'yoke erase tool' was made to fit exactly the depth of the star yoke insertion. position.1. 6 row pattern.Substitution. Help 8. Tip: Use Step 3 Reduction to get a better idea of how the pattern will look over a large area.

� 1 : : ::I::: 1 : . .i·l!I. Some backgrounds are inclined to bleed into the border so that a clear­ ance of one or two squares between background and border is an improve­ ment. i : .Subtract this number from * (e.I . . · · . • 1. I I:. ·I ·• ·I··.. . 1 •.. ...·l!I:I ·iI. .1 : 1 • : : . .....L 1 l·1 ·1·l.·11 :l : : : :: : : .... i I· ··.... 1!11!1·1!11!111!1 · 1!11!11!1 jl l ::11!1: : : : .. Move the body over the sleeve until the yoke pattern flows across.:h: :1:: :1:: :I : .. 1··1 ·l· ··1 ·.. ..1.: 11!1.. :'!'iii!':i: : '!': :i · · 1 1 �� · · · :11H : :� •� '.. : : •:I: : : I: : : :: : : : I: : :I: : : ·111·111·111·111·111·111·111·111·111·111·111·111· 111·11 1 : :1: : : I: : : 1:::1: : : I: ::I:: :1::: I : : : I:: :1:::1 : : : I:I : :1 : : :: 111·111·111 ·111·111·111 ·l •I ·111·111 ·I ll ·111·111·811 · ll· Section of the 'free form' inserted yoke on small flat background 8 .1 r 1. .: · .: . 1 • .. 1 • . ...ii I I·1 1··.���. ..·. :ii:� 1 i �� �:-111 ·. .1 .... SLEEVES Knit the body pieces first and pre­ pare for seaming i..· """.....·. 1 . Subtract the depth of cuff and the remainder is the length to be knit­ ted in Fair Isle...' ·I ·H"·I ·11···1·.... ·.150)..�" ..1·1:1·1.: .� �ji�.. "'"'"' : : : . . I 1 ' "' .. i. : : i: 3" :I 1 .60). . .· · : . . .· •·•. . :... 1 · ·1 1 . ..: 11 I·111 1·I11 I I ···· ···· · ·· 85 1 " . • 2 • 22 20 14 12 10 21 25 23 21 19 17 15 13 11 9 .: :1·1 I"!' ..I1 .·I . . · . Go back to Step 4 to clear more yoke space and continue from there.I 1· · ·'.·�:: 1 1 ... 1 · 1 : ·. : . ·•: ..1 1 . 1 � i�.·1 : "'•"' : : 1 ·I·I . ' ' ' " ' ' · 1 I II '...11!1: ·ii·. . ·1 1 : ·t1h·1 • ·:�. ·· · ·: : � · ·11!1 ·:·II: 1 1 3 :::1:: :1: ::1: ::1:::1:::1: :: :1 4 · : :: • · I · 1 1 1 . ::1. . u : .. . .."!'. : �-. "' ..1 1· •. . :i :. g. · � · .I·I ...: <1]' . Use the tension read­ ing to convert this to the number of rows (*e.'!':: .. ���1 ��1·���1 · · · l!li: :c m :i l!li . ••• ·11· : . . · ·. · •� ll.·1 . i1!11!1 l!li : :..� .. �"' 0 . i · � · ·· : ··1 1.���... 1.I··1··:1. 1 : : : : : : I : h l : :: .. :i ·:11!1·•!1: : •. ' Ill 1 ' 1 I' " I " . e. :• : 1.1 1 . :l!l il!I :9: :11!1:: . 1 �1 I ::11!1: :I 1 :11!1 ·ill· . . iii ·iii ·iii.1 I 1 .�� 11!'1· '!'�I!' •.ii •ii · : : ...1:·1 1. 1h. 11 . .· ·1 : :: :: .. d: : : :1 l I ' � d i i 1 .. :l!I:•..:·· .: I : . • ·n 1!1. ••·1 • 1·•11·111·1 ••· •11·• ••·••1·1 •11·1•• · · · 1 1 1· 1 �� H ���l���l���l���l���l���l���l���l���I��� �! il :1: : :: Ill I : : : I : : : I : : : I : : : I : : : I : : : .:.. · 1 : ·1 : : ... . 1 1 i t �· �·:•:·�·�i�·�·:•:•�·�i · A horizontal portion of pattern can be used on welts and cutts m 146 149 147 · 1 1:: :1 ::: 1: : : 1:: :1 : : :1: : : 1: : :1 �Ii�::•=••••: I ·I ·I · ·· ·I ··••11!' Ill ·I: :II: ·II I· Ill ·I II ·II I · HI·I II·I II· ··I 1f1I::: m liij.ii :h: :•ii•"i '."'•: 1 t t "':: 1!1 : : : . 17 I� I I� I� l�l'!'l'!'l'!' .. •· :·"1.• :..·I1!11!1 1• .. This is easily done on the TV screen..• .....i1 ..���. : "'•"' :·1 c :..·i..ii•: · · · 1 ... .��� : i .··iii · ·1·. ·1·1 1:� : : : : : : : . Establish the sleeve length.1 : i: 1 : i:l!lil!li'!li: . .: � "'•"' : . • • i • :•:: : 3 8 ·i · ·: :. l!l.. .Place a marker there. •.1. ii!'..I1 . A7 ' 95 93 91 8A ' a1 ."' ""' '·1� 11 : ..• : : � : :' :�: '::'· tifl> :I : :: :•..·:·I:. Take the measurement from wrist to centre back to wrist and halve it (b). 1 I · · · · 11·· 1 1 n ... iii ·iii ·iii. Ill. iii·iii·iii. g...· ·1 ·1 ·1·1.Which leads to posi­ tioning pattern on sleeves. . 9 ���.ii � :· · 1· ·-�... " .i. . · ''"' m · 1 uo 41 139 138 1 7 136 3 134 131 129 127 s 12 m 121 m 128 m 124 122 128 118 117 116 115 114 113 188 106 10.:: :•1 : ·1 1· 1: 1 . . .i. ..· 1 ...n11·1·1 iii·iliil·iili... iii·iii·iii " : • · i 1 1 1 · ·1. : I I · 47 : : : I : : : I: · · l : : :• 1 :1·n·. '·11 ·. ·· .. 1 . · 1 1 1!11!1 · : : : iii·iii·iiill il'f dli il .. I· I:•··.ti'.:i "i :•: :1 1. .. . : : . . ��1 :�':: ii "1 �� ���i���i��:i���i���i���i���i���i��� • ·. 1:1 · · 1 .. 1 .16 14 12 10 8 6 4 2 rather than too wide an erasure for it is tedious and not always easy to accurately replace erased background.· •· · . iii·iili l!I· · ::·1 illi: 1 1 1 ·1:· 59 : : : : : : : : : : I · 1 · .. . :::1:::1: :I: l � l i �ii · Ii: :ii. .· •·...Ii·•" 1!11!1 · "•...steam or press. .���.. · . .:: 11 : 1 1 : ·:i.·I ·.· :· • ·I· · I ·1 1 · ·· · · 1 1 1 · · · · 1 .. : i ·ii. . i .. · . 1 1 : : .. · I II 1 � 1 : : " .. i. I" · · .•·· ·Ii. iii. 15 �l'!'l'!'l'!'I� . ..••• i il!lil!li :• 1 1 ·:• :"i ": 1 ·:·:1 • : 1 ::l!l 51 : : :1:: :1: : : I: : :1:: : :I · 1·11!'::i: 1 : . 107 to5 1 1 3 1e1 .�ij� :i i!1: l���. .• 1 ..Ii::1 · 1 1 1!11!11!1 ·1!1 1!111!1 1• 1!1 1!1 1!1 � .: : .. " .: H . · · · I 1 1 I ·p·. · 32 2... i .. : ···: : :1... 1 :ii'!' i: .���. r .. . •1·• . I: 1.. ..Ii·.. . . . : :l!I:: : : .g..a1 r..Establish which is that row (e. · 11 63 . 1 1·i l!lli:1!1: I "• l!l : li :: :1 :·1 ·1·1 1 : ·l!li :11!1:: : ·iii· i i i · I ·: � :i �.: :.·Ill ·1 ..:ii! il!lii:. : : .���I ·· I:: :t:::t: :·:t-:: :t:: :t:: :t ·:::i• •• I:•··•iUi ... · 61 iii..1 I :·" i". ' Ii··" iii.'!1.1·i i.. . . 1 ..1 67 : . ·. It is one of those details which separates a quality garment from the rest and the good news is that it couldn't be easier to achieve..Use the second piece as a dummy sleeve and place it at right angles matching its centre to the back shoulder seam. 55 : : :1:: :1::: 1: :: : 1 ...·Ii. � � : � = � : :ii : 1 l il i .ii 1 1 l �� C 1 i" 1 ir i i ii ..���. :"' i" :i : :"' :: i:. · ..::•. : ..i.. . .. I 1 ·1 · ·.. 11.���..hi• '......1 · I· · I··l·l· I·.• i · · 1 I ·11· ..� 1 • ... . . 9 ii �: � �ii '!'ii'!' �:'!' '!'iii!' 7 "'·: :l!I:: s .���.. .:: · : :i�·..j: .. . CARRYING THE YOKE FURTHER I prefer the yoke to be positioned so there are sufficient rows for the pat­ tern to move out over the sides of the body and the front neck is well clear of the pattern. .. I I 1 1 1 · · •·• · ·1 .: : · • · : �: 1:111• · i• : • · ·•• :• •• '. .•.. 1.·I·• i1l!I· · :l!I :1·1· l!li·i 1·1· :l!I: 1·1·"' ·"' i: :l!I::il!l1· 1· · • "'1· ··I·· ·I· ··I ··I ·· . ·1 •�1 .. 1 I:·1 : ii� .. ·l · ·I · · · 1·1 1 ·:·I . . n69 . : : ii '!Iii : : .�. . · · 1 i 1 1 ··I·· . ... � �. 11 "' ·.1 1 I·.· 1:l!l: · iii ·i l!la :1 •1 1 iii ·iii·iii·iii · i:�: 1:::1:: :I· · · 191 : : : :I:: :I I: : :�:· :l· f:· ·1·· :�: :I 1 .. · 11·: · "' "' m ���: 1• •1J C·�·· � � � ��� � : � : �·i.i· 1 �· ·���1 ���. : ..1 :. . s3 iii iii·iii ·• i•. .1 ·11· ·I . · ' "'"'" ·1!1 1!11!11· i. : :i1!11!1 l!li :: ..... ·... I ....... • ·: ·I:·.. On a pressing board (or bed) place one body piece as the back.. u .. I1i:1:: ..1 . ••• ·••• ·••• . ....l!I:: 65 iii...... ...... iii : :l!I: :.. ..I 81 "i "': 1 1 " : : • : 1 : .. : •1 r·1 :•:"' :: : : : I : I : : : : : I : : : I : : : 111·111·111 ·111·111·111 ·I ll ·lll· IH·I H·Hl·lll · ··I· : : : I : : : I : : : I : : : I : : : I : : I : : I : : : I : : : I : : : I : : : I :: : : I1 1 .. ·1·f1:: : I:: : 1·:: :I:: :•iiPi ..:: .•. .·· :l!lil!I::: . .. •.i 1 · · "'. . . :l!l .l!I ·Ii :ii · i: ·i i··ii : · 1 � � � ::� m i•1:1 ���-��� 1� ii· i 11: : 1 : � �dh��: � :::: ::::�: : :� :1: 1 :•.· �1!1. 13 . . :1 .1. ..... ..·1·1!11!1 ···..Subtract this from (b) and the result is the total length of sleeve.���. To get an exact!y matching sleeve knit 60 rows in background pattern then knit through body to row 90 and cast off. 111:'Ii"• .l!lI. �'=�.: I . : 1!191!1:: : ii :.9 '•"'•:"': . · :I..:. ....I: :1 I: i: l!lil!li.a ·ilili I· ...e.I : : :1::: : II . ··I:iUi ·1 111:·Ill ·I···· ·Ill ·111·111·111 ·Ill· ..1!1.���.. :."""1.4 rows overall added to yoke depth. I : 51 iii.. :i:::·1 .lh �' ��. . ·iI: . .•·•.....1: •. I··• . 8 1 2 100 98 96 94 92 99 u 86 84 2 • 88 78 76 : .. : ··1·· 45 111·111·111·111·111·111·111 ·11 ·. . iii·iii1l· :: :1: : :1 : ::1 :::1:: :1:::1: ::1:: :1:::1: : 1: :: :1 :: :1: :: :I1·1 ·iii·iii·iii·iliil·ilili·iili·iiil·iii·iii·iii·iilil: :: iii·iii·iii 1::: I: : : I:: :1: : :1: : :I: : :I 1 :1 : : :1 H 70 68 66 64 62 60 58 56 50 o u 44 · •2 40 .. • .... I . Measure the width of the knitted body piece. . ·iiil . 1 1 : . Hint: The excessively long length of sleeves in dropped shouldered sweaters is a common design fault.���. ·1 1 . ·11·.You will see from the photograph on page 9 that each yoke has continued off the body and has been matched in the sleeve top.���.1 ...·I ' ' ' I ... . ·1 . ·11 11· ·..1· 1·: .· 1 1 .. .: .:·.1 ·1 Ill ·111·111 ·11 · ·I· 7 15 :: � : L '...90). Method of matching yoke insertion at sleeve .·I.. . : . ·1i · :1::"' "'"': ·::: :•"I'1 :•:1....1·· ·1 : "i "': :il!li: :··111 .. : : : : ::: : :: .."11 .1 .

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Step 7. Step 4. then gently pull it out. They are easier to work with a good band of waste knitting (on which a comb and weights can be hung). Step 8. When nylon cord is pulled. Pick up loops from the last row knitted in main colour. transfer stitches then keeping empty needles in non­ working position. then knit one row with nylon cord (this makes it easier to remove later). Step 3. preferably of the same thick­ ness for the waste yarn and knit at least six rows (more waste less curl making work simpler to pick up from). For fancy edgings. Pick up as usual. and many other purposes. bend waste knitting AWAY from you. Many lace patterns give scal­ loped edgings due to the movement of transferred stitches. knit a few rows waste yarn. ALWAYS use a good contrast in colour. stitches will be decreased 'instantly'. Step 10. You can leave the waste yarn in place until the piece is finished. bend waste knitting towards you. = Step 2. To pick up with wrong side facing. Reducing· stitches (decreas­ ing across the row). Use main yarn and cast on by hand (we show 'e' wrap) OVER the nylon cord. waste yarn is released and the scal­ lop edge is set beautifully. Leave the waste knitting in place during steaming or pressing. . start with waste yarn. Step 5. Step 6. Choose a contrast colour of nylon cord (they are available in a range of colours) or replace cord with a strand of slippy knitting yarn. To pick up with right side facing. Step 9.GUIDE TO WASTE KNITTING Step 1.

and indeed this is reflected in the colour terms we use. and certainly if you reg­ ularly design your own fabrics. very few knitters have free time in abun­ dance to experiment and design in. the same people usually know instinctively when colour combinations they see are effective and when they are not. we use the terms 'red'. Of course. It can point you in the right direc­ tion in the design process and cut down dramatically on the number of'failures' you have to work through! WORKSHOP DARK AND LIGHT An important aspect of our percep­ tion of shapes in textiles etc. then look around you and observe what shapes you can still discern. FAMILIARITY CAN BREED CONFIDENCE A certain amount of experimenta­ tion and a certain number of 'wrong' or 'not quite right' creations are part of the creative process as every designer will tell you. In other words there are no hard and fast rules for success in colour combining and a measure of experimenting is nearly always called for to achieve a fabric you are really happy with. looks a bit washed out and faded in another. To experience this at first hand. Most people would proba- bly regard hue as a basic category. Without realising it they have come up against one of the most challenging and at times intensely frustrating aspects of colour (and design too for that matter) which is that our per­ ception of colour depends crucially on the context it appears in. 'green' etc. DARK AND LIGHT WITH COLOllRS AND SHAPES What often surprises people about Linda Jackson (better known perhaps as 'Artika Designs') with valuable guidance on some basics of colour the dark/light dimension is that it can often play a more important role in the finished appearance of a fabric than the actual colours involved (which I will call 'hues' to distin­ guish between the two aspects of colour). which is too often overlooked. But even if you only want to be able to vary the colours in a pattern you have chosen. scrunch up your eyes until you can barely see. famil­ iarity with the way colour and pat­ terning works in knitted fabric and garments will be enormously help­ ful. for instance. Notice also that when you examine the colours with your eyes fully open a seemingly pale object may be just as near in colour to one which you saw as dark as it is to one you saw as pale. is the dark/light dimension. The despairing knitter with supposedly 'no sense of colour' is probably just someone who has given up and accepted defeat after the first few unsuccessful experi­ ments with colour combining. with dark/light as a secondary clas­ sification. 'blue'. appear to be a deep rich colour in one context. On the other hand. A colour which might.HOPE FOR THE DESPAIRING KNITTER! It is interesting how many people comment despairingly that the trou­ ble is that they just can't seem to put colours together and make them look good. as a basic way of describing colours adding the terms 'light' and'dark' if considerations in Fair Isle knitting 11 . You will notice that pale shapes stand out from darker ones and that there is a fairly definite line between what you see as light and what dark.

The eye. the bold triangles of the stitch pattern design are more prominent in Sample 1 where the dark/light contrast is stronger. When two contrast­ ing yarns are used to create a stitch pattern (fabric) design. top with a much softer one. the background hues are slight! y darker. for a design such as a pictorial motif where the effect of the design is to empha­ sise a certain shape. This means. but the dark/light contrast in the bottom section is stronger. you would avoid using very strong dark/light contrast. On the other hand. and in a knitted garment this fabric would probably appear to be black and white. and the shapes soft. colours and shapes at work in textile designs. On the other hand. for instance. whereas the opposite softens the colours and brings them out. This has the effect of making you see the dark shape(s) as foreground and the paler one(s) as background. In Samples 2 and 3 however. Assuming a fabric design includes a fairly bold shape like the one featured here.l further information is needed. on the other hand seems to do the exact opposite. you would want to maintain a fairly strong dark/light contrast. If you look at the top and bottom sec­ tions of the swatch separately you might see the purple as slightly darker in the bottom section than in the top section. It is very difficult to determine the 12 exact colour of the darker yarn. but not the other way round. so the purple appears darker whereas in the top section the con­ trast is less and the purple appears lighter. the dark/light contrast brings out shape and makes colours less important. In fact. so that you can compare the different effects. I have used a very dark purple with white. there is an impor­ tant interaction between the dark/light dimension. for example. the more of a dark/light distinction there is between the two. Just try this experiment. the less you will notice the actual hue of the individ­ ual yarns until you see them up very closely where context is not so important. In Sample 1 for example. I have used a lighter shade of purple than in Samples 1- 3 so that the dark/light contrasts are less strong and the overall impres­ sion of purple is greater as a result. an animal or sportsman and where colour is of secondary importance. that if you wanted to create a fabric with a tapes­ try-like feel where the colours are subtle. which softens the contrast so that the purple is easier to make out. In Sample 4. How would you describe the shapes in Figures 1 and 2? The chances are you . even looking at the swatch at quite close quarters. Sample 5 starts off at the bottom with a very strong contrast and ends up at the One last important factor to consider when picking out shapes on a back­ ground is that the eye tends to focus strongly on a solid shape when that shape is dark and when it is next to a pale shape or shapes. the same yarn is used in both sections. even slightly washed out. THE INTERACTION CONCLUSIONS A PRACTICAL EXPERIMENT To swn up then.

.--. as I will show next time.. Both are the same design but with the dark and light inverted. Compare Sample 6 with Sample 1. --• • • • • •• ••• ••• ••• • •••••••••••••••••••••••• •••••••••••••••••••••••• •• ••• ••• ••• • • • • • • . --. . --.. --­ .--. ··• • • ••• • ••• • • • • • • •• ••• ••• ••• • •••••••••••••••••••••••• •••••••••••••••••••••••• •• ••• ••• ••• • • • • • • • • • • ••• • ••• . • • • • • • • • • • • • • • • • • • . ..--. the design appears more complex. .--.--. .. When the same shape is light surrounded by dark.. . .) Of course. •• ••• ••• ••• • •••••••••••••••••••••••• •••••••••••••••••••••••• •• ••• ••• ••• • • • • • • • • . . rather than the opposite way round (that is... . . ··­ • • • ••• • ••• • ••• . • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • . . . The eye easily inter­ prets Sample 6 as a series of oval shapes on a pale back­ ground. . This is what your eye expects and as a result the design appears clear and uncomplicated.. ·-. --. but in general dark shapes tend to be perceived more readily than pale when seen together. • • • • • • • • • • • • • • • • • • • • • • • • •• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •• • • • • • • • • • • • • • • • • • • • • • • . --­ . . --• • •• • ••• • ••• • • ••• • ••• • ••• • • ••• • ••• • ••• . ··­ • • • •• • ••• . . --­ • •• • ••• • ••• • ••• . It often means that when you see a solid dark shape or shapes next to or surrounded by pale ones your eye interprets what you see very readily as a dark shape on a pale background. --• • • • ••• • • • • • ••• • • • • • ••• .. . .--. --.. . . this is not a hard and fast rule. .. and the design appears less complex than Sample 1 where the oval shapes are pale on a dark background. --­ • ••• • ••• • ••• • ••• • • • • • • • • •• ••• ••• ••• • ------·-----·······----­ •••••••••••••••••••••••• FIGURE 1 FIGURE 2 would be more likely to describe 1 as a black diamond and 2 as four black triangles.--.. ·. .. . -.. --. This has consequences for knitters. These aspects of the interaction of the dark/light distinc­ tion with hue and shapes in fabric design have important consequences for exploiting different types of fabric design in knitted fabrics.. . you would be less likely to say 1 was four white triangles and that 2 was a white diamond.•• ••• ••• ••• • ... --• • • • ••• • ••• • • • • ••• • ••• . ·­ • • • • •• .

why not have a look at cotton? UNIVERSAL USAGE Probably. if you go out in the rain wearing a woollen coat you feel warmer. and acrylics have come to be the general purpose yarn used today but we want something different now and then. so giving a true 'Easy Care Fabric'. Some woollen fibres may be over five inches long. but the best cotton fibres are only about one and a half inches in length. as the textile technologist says 'convoluted' which means that the point of con­ tact with the skin is minimal. Iil:!. especially for gloves.!i!Q3. strong caustic soda whilst they are being held under ten­ sion. Naturally.iiIif'I In the same way as wool coming from sheep having different fibre lengths.Lanolin. All our lives we keep our body temperature within very close limits. Does it have a defect? Well. I suppose wool has always been a favourite with the knitter. it generates heat! This is why. - IS COTTON COOL? Again. shirts etc.l:u�l!iji:IQ. so fibres coming from plants also have different 'growth' and lengths. the answer is 'yes' and the reason is very interesting. 'Milano Rib' or 'Ponti-di­ Roma'. very careful! y . CAN COTTON BE DYED EASILY? The answer is again 'yes' but we must have some reservations as we are not only interested in colour but such things as 'Wash. These are 'bean shaped' and are 'twisted' . Like all growing plants. The two latter mostly using a special knitted structure called 'Inter­ lock'. on the other hand. as well as other factors. which requires a great deal of cleaning. such as is required for towels. AB a raw fibre cotton has little lustre. m<'lre cotton is used in tex­ tiles than all the other textile fibres together. This is more noticeable in the more tra­ ditional uses and will be discussed further on as the process of higher twist to produce acceptable machine knitting yarns can reduce this. I tried to give you some idea of the differences between the various yarns which we use with regard to their aesthetic and physical properties. underwear and sports­ wear. although the process does produce an important ingredient in special beauty creams . but when it does so. Cotton withstands severe washing processes without losing its charac­ ter. can be dyed in many shades and take wonderful printed designs. Wool fabrics can be dyed in a tremendous range of shades which can be described as 'fast' because the dyestuff can form a chemical con­ nection to the fibre. These fabrics are knitted on quite fine gauge machines using combed cotton yarns with a fairly soft twist. Light. Not like wool. Wool can absorb a great deal of moisture. what goes in easily often comes out . silky look yarns used in crochet and embroidery. There is also a traditional practice of washing wool very. is achieved by actu­ ally making the final colour within the fibres or by first applying a 'mor­ dant'. In cotton these immature fibres do not spin well and form small hard 'neps' which do not take up dyestuffs well . The longer fibres are separated by a process called combing.this is not the case with cotton! Fastness on cotton. so it must have something going for it! It is a fairly cheap source of fibre for spinning into yarns as the fibres do not need much in the way of cleaning before spinning. if you would like to know some fancy names.In my previous article. most dyestuffs on cotton are called direct dyes which are applied by placing the fabric or fibres in hot water to swell the fibres and then adding salt which forces the dye into the fibres. there is 'Double Pique'. This is overcome by blending with Poly­ ester which imparts good crease resis­ tance. which means that they must be well twisted to give a strong yarn.or. but it has some limitations particularly with regard to price. and no doubt the sheep in the field is grateful for this property! Cotton. hosiery. but this is dramatically improved by the process of 'mer­ cerising' which involves immersing the yarns in cold. KNITTED COTTON Quite apart from cotton being used in weaving. even in these days of syn­ thetics. over­ alls. We obtain our warmth and energy from our food and then cool ourselves when we perspire as the moisture evaporates. absorbs much less and is very permeable. IS COTTON SOFT? The answer is generally 'yes' and this comes from the shape of the indi­ vidual fibres. or. it has a long history of use in knitted form. it does have rather poor resilience and crease recovery in woven structures. This causes the fibres to become swollen and gives us those giving a flecked appear­ ance to fabrics if they are present in too great a number. Rubbing and Perspiration Fastness'. (Those of you who do your own dyeing know all about this!) Unfortunately. fully grown and immature parts exist together. Synthetic fibres do not absorb that moisture so can make us feel uncom­ fortable. This property allows moisture to pass through the cloth­ ing in order to evaporate and keep us cool. Well. improves the rate of drying and then requires little ironing.

cotton yams have been available to knitters.Reynolds Brothers. Michigan Tel: 616 683 8727 CANADA. lshoj Tel: 425 25600 NORWAY . these do not look as attractive in stocking stitch or in Fair Isle designs.Unique Line Tel: 23 25 9351 SWEDEN. Goteborg Tel: 31 806802 • DENMARK . a machine gauge must have a par­ ticular yam thickness. white cotton fabric and leave it for a time under a weight (your iron will do). These 'optical bleaches' have a bluish tint which counteracts the nat­ ural yellowing of cotton . how­ ever. 901 Greig Ave.Jim Davenport. the yam spinners are introducing a blend of cotton with acrylic fibres which I have found fairly attractive in rib structures or full purl type designs . is that the resultant fabric may have a real firmness or hardness.Ursula of Sweden. Two ends can be knitted together at around tension 6 and bring you close to the softness you expect from cotton. Near Mold. Knowing this.have a go and 'cotton on to cotton'. that fabric will be stained .remem­ ber the 'Dolly Blue Bag' on wash day? Don't let any criticisms I may have made actually put you off cotton there are new blends and dyes each year . Another interesting point about the wet fastness of these dyestuffs. They might be all right whilst wash­ ing in cool water but if left in wet contact with other cotton fabric. but the difference in lustre between the cotton and acrylic component may not be to everyone's liking. Sometime you may have found that you had a pale cream shade which seems to have gone at the first wash. Please submit sketches and swatches to: Jackie Demuth Litharne Ltd. then look to see if there is much staining.Egil Hansen Tel: 988 0324 Mary Lue's Knitting World (Chuck). I would not bother with the item.Wolfgang Strohlein. but these have been on the thin side. Light fastness should be better than the wet fastness and if one sees the warning 'do not dry in direct sun­ light'. PO Box 9 Stratford-upon-Avon Warwickshire CV37 8RS For those interested in the package. 82200 Hammaslahti Tel: (358) (9) 73 741175 USANorthwest Knitting Inc (Denny). to avoid dye fastness prob­ lems. CLWYD TECHNICS 1�111 7n�� System 90 lntoshape 7cntk��� STRANDING COMPUTERISED KNITTING PACKAGE FOR IBM COMPATIBLE PCs -AVAILABLE FOR THE SILVER What I have found to be very nice is combed cotton. REED kNITTING MACHINES AND BROTHER 930. with every hobby or cre­ ative craft.506 Tel: 206 943 9711 NETHERLANDS . 940 AND 950i KNITTING MACHINES Outstanding features of the package include: OPTICAL ILLUSIONS Obviously. appropriate connecting lead and manuals . one has to experiment so .easily so wet fastness is limited. IS COTTON SUITABLE FOR DOMESTIC MACHINE KNITTING? The answer is again 'yes' but with reservations. A ntelope Industrial Estate. This style of yam is being offered at a reasonable price. . Strima AG. you could keep to white when­ ever possible . Lindlar Tel: 22 663168 FINLAND . 'Tile' it Create your design Create motif Design your garment shape Price£179 (UK carriage costs and VAT inclusive) We are now tommi��ionin� �e�i�n� for our Autumn/Winter 1��J·�� �u�litation� An interesting use of colour and yarn.especially as your household washing powder often contains a 'fluorescent dye' or 'opti­ cal bleaching agent' which is very substantive on cotton. Brentwood Bay BC VOS1AO Tel: (604) 652 9753 Clwyd Technics. Clwyd CH7 5JH Telephone Mold (0352) 741751/4 •Fax (0352) 741348 15 . A simple way to test wet fast­ ness is to take a small amount and wrap it in very wet. but this is not so. is fastness to bleeding. Sierasuontie 66. More important. Carlton. System 90 lntoshape is also available from selected Brother stockists. For some being sold worldwide! AUSTRALIA. * * * * * Ability to knit 14 colours in one row Garment shaping produced in REVOLUTIONARY format which gives you both standard garments and freedom to redesign into any required shape Unique stitch pattern gives you FINISHED FABRIC view on screen Prints patterns to scale for mylar sheet transfer Designer Jacquard option and the 'Optimiser' facility BROTHER SILVER REED * * * * * * Send books of patterns to your machine Direct connection from PC to 580 Direct connection from PC to the PE1 'Follow' your progress as you knit on Direct connection from PC to EC1 screen Read or program the cartridge * Transfer to PC from knitting machine Display your mylar cards on screen Transfer to PC from PPD/cartridge * * System 90 package comes complete with software. It is also very essential that sewing threads have good impor­ tant point if one has undyed facings on colour garments. combined with new stitch patterns or tech­ niques should be expressed in each design idea. tuck stitch or transfer lace. which to preserve the softness. As I explained in my previous arti­ cle. is available in fine yarns. Olympia WA 98. When cotton is spun into thicker yarns they tend to be stiff and so give an unattractive stitch evenness. Nevertheless these are widely used as they are cheap to buy and apply and are available in a very wide range of extras required.Brother International. but can look better in rib. Clwyd Technics offers specifically tailored one-day tutorial courses.such as patterns worked using the garter carriage. Minnesota Tel 507 931 3702 Wee Knit Shop (Marge & Ken).Pixel Knits. NSW 2218 Tel: (02) 587 5020 GERMANY .

cast on and K3 tubular rows. SHAPE NECK Set RC at 000 Dec 1 st at R (L for right front) on next and every foll 8th[8th: 8th:6th:6th] row 24[26:27:29:33] times in all. Set RC at 000. Transfer sis to MB**. Press seams. 16 armholes between markers. SLEEVES With RB in position set machine for 1x1 rib.5: 77. Cast off loosely. Using MT-4/MT-4. 1 applique motif (optional).51 press pieces to correct measurements. continue in stripes of 6 rows MC and BAND With RB in position set machine for 1x1 rib. Sew on buttons to correspond with 48150 5 53:55:5 7J buttonholes. this applies to all sizes. K until RC shows 23[24:25 5: 26. MATERIALS Bonnie's 3/14s Cotton. treating as though they were the one yarn throughout. Push 81 [85:89:93:99] Ns on MB and corresponding Ns on RB to WP. Using MC. st.SIZES To suit bust 86[91:96:102:107]cm.5]cm. out and after washing. Inc 1 st at each end of next and starting garment. 1273 Bristol Road South. 161[161 :167:167:173] sis. 6 buttons. CAR. Repeat from ** to ** until 6 buttonholes in all have been BACK stretched fits up one front across back end from ball and one end from cone With RB in position set machine for 1x1 worked. using 2 ends together through­ and corresponding Ns on RB to WP. Place a marker 25 5125 5:27:27:281 on 57th[59th:62nd:64th:66th] st from each end to denote shoulders. PATTERN NO'fE Colour block cardigan with stripes: Worked as given for main pat­ tern but when RC shows 132[132: 138:138:144] on section worked in C. Arrange Ns for 1x1 rib. so wind off several balls and feed one together through tension mast and into for 1x1 rib. Cast off. Mark depth of armholes 23[23:24:24:25]cm from a Set RC at 000. Arrange Ns for 1x1 rib. neck and down the other front. ** Make a buttonhole over centre carr. The style shown is from a selection of Vogue Star Lady's Colour Block Cardigan MACHINES: These instructions are written for standard gauge machines with ribber YARN· Bonnie's 3/14s Cotton FIBRE CONTENT. CAR.519] rib. Work as given for back to **. Using C and MT. Sew on band. Using MC. Sew cast off edge of sleeves to Set RC at 000. Block and steam SLEEVE Join shoulder seams.5:77. Sleeve seam 48cm. Figures in square brackets [ ] refer to larger sizes. 1 x 320g cone in each of MC and C. Using MT-4/MT-4. every foll 4th row 36[36:36:36:37] times ABBREVIATIONS in all. Measurements given are those of finished garment and should not be used to measure work on the machine. K6 rows. Push 19 Ns on MB and corre­ sponding Ns on RB to WP. Work as given for back to *. Birmingham 831 2SP motifs. SPECIAL NOTE Two ends used together throughout. K26 rows**. K34 rows. reversing shaping. . then join side and sleeve seams. 46(46:48:48:49. RC shows 214. Set RC at 000. K until RC shows 210[210:216:216:222].5: 78. Length 76. shows 150. K until band. Push 89[89:95:95:99] Ns on MB MAIN TENSION 35 sts and 51 rows to 1Ocm measured over st st. Arrange Ns for 1 x1 rib.5:281 210[210:216:216:222]. cast on and K3 tubular rows. "' BACK FRONT TO MAKEUP Wash and dry pieces. drying and steam pressing (tension dial approx 4• • ). Cont in C throughout*. Arrange Ns 6 rows A throughout. please write to Bonnie's Wools Ltd. K until RC shoulder seams on back and fronts. when slightly 16[17-18:18. Cast off. NOTE Knit side is used as right side.100% Cotton COLOUR: We used Navy (MC) and White (CJ STOCKISTS: If you have any difficulty in obtainjng this yarn. Using MT. K2 Tension must be matched exactly before rows.5[76. Northfield. where there is only one set of figures. LEFT FRONT With RB in position set machine for 1x1 rib. K until See page 54. Finished measurement 96(101:106: 110:114Jcm. 57[59:62:64:66] sts. Push 169(177:185:193:199] Ns on I MB and corresponding Ns on RB to WP. RIGHT FRONT Work as given for Jett front.


The cushion on page 19 (pattern 2) uses latch tool stitch conversion. Draw a diagram to scale to the size of bedspread you require. (At the same time you can calculate how much yarn you will need for the complete bedspread. per­ haps a deep hem at top and bottom and narrower ones at the sides. a 50g ball would just make two squares. 15 sts. Approximately 30 sts and 40 rows to 10cm measured over patt (tension dial approx 8). YARNS Cotton yarns are particularly suit­ able for textured designs although woollen yarns that are fairly tightly spun can also be used. crochet or knitted edging with tassels or fringe (Diagram 4).Traditional blanket squares are cro­ cheted or hand knitted. For the knitting machine. Using MT. 4 and 5). Make sure that the yarn you choose will show the pattern off to its best advantage by knitting test pieces. pat­ terned to match the squares (Diagram 3). as in the sketch on page 20. using squared paper. These squares are knitted diagonally. Inc 1 st at each end of 2nd. which helps to eliminate distortion when they are joined together in symmetrical patterns. Knit up six or eight squares to start with and experiment with arranging them in different ways to fit your diagram. the sample in the photograph could be used to make FURNISHINGS TRADITIONAL SQUARE DESIGNS a daintier cushion with a lacy effect. THE LACY SQUARE The ribboned sample was made using 4 ply cotton yarn (unmercerised). 2. 6th. often in cotton yarn. 8th and 9th rows. knitted hems without mitred corners. 3rd. the sample shown in the pho­ tograph uses hand selected and punchcard selected lace pattern. 3.) EDGING IDEAS The edges can be finished in several ways: with a simple crochet border (Diagram 1). Kl row. or a fancy crochet border (Diagram 5). RCOOO. the idea can be adapted using textures and patterns made with machine knit techniques. finished size 18 x 18cm (without crochet edge). For a bedspread. RC 10. Push 3 Ns to WP: 2 at left of centre 'O' and 1 at right CAR Make an 'e' wrap cast on from left to right and thread yarn through car­ riage. and work out the number of knitted squares required to make up that size. knitted hems with mitred corners (Diagram 2) . 5th. PATTERN AND DESIGN Bold textures contrast and combine in the cushion design. Now work from Chart 1. inc as before . Kl row. cabling and reverse stocking stitch stripes.these would have to be made in sections. either of these squares can be combined in a number of different ways (see Diagrams 1.

Transfer sts as for first lace row. 48th and 49th rows. ABBREVIATIONS See page 54. 33rd. Dec 1 st at each end of 5lst. K1 row. miss 1 de. 3 sts remain. 16th. 2nd Row: 1 treble (tr) in first de. 24th. 3rd Row: 1 tr in each tr or ch space (sp). then 1 row with­ out shaping (repeating these 3 rows) until chart row 51 is complete and there are 71 stitches. de in next tr. D MATERIALS Right hand stitch converted to st st and crossed over left hand stitch DK Cotton. then continue as before to end. 39th and 40th rows. K1 row. Cast off. RC 56. miss 1 tr. 54th and 55th rows. making 3 de in same place at comer. 37th. rep from* ending de in 3rd tr of 5 at comer. 22nd. 46th. RC 20. Inc 1 st at each end of next 2 rows. 52nd.5cm. Dec 1 st at each end of 31st.5 x 40. RC 56.K_ 33 31 Y< v 0 0 0 0 0 Transfer left hand st to right hand N leaving empty Nin WP Y< 29 27 25 Trans fer right hand st to left hand Nleaving empty Nin NWP >-«- 23 . Insert punchcard (if used) and set for row 1. then continue as before to end. Converted to st st 16 15 14 12 13 ������-'-'-+--'-��� 11 11 10 9 8 7 6 5 4 3 2 1 1 2 3 4 5 6 7 8 9 10 i° Cenlreslilch Left hand stitch converted to st st and crossed over right hand stitch Right hand and left hand stitches converted to st st. RC 40. Kl row. 43rd. Change to WY. 45th. K2 rows. Transfer sts for 2nd lace row using chosen method. (3 ch. Dec 1 st at each end of 21st. RC 50. Set RC at 000. 13th. *1 chain (ch).1 tr in next de. 11 9 12 11 10 9 8 7 6 5 4 3 2 1 1 2 3 4 5 6 7 8 9 10 11 12 jo Cenlre slilch Repeat these 24 sis and 20 rows TRADITIONAL SQUARES CUSHION COVER TRADITIONAL CUSHION SQUARE CHART FOR CABLE MOTIF MACHINES: These instructions are written for chunky gauge machines SIZE Approx 40.K_ 15 0 13 »< Cenlreslilch 37 35 12 11 10 9 8 7 6 5 4 3 2 1I1 2 3 4 5 6 7 8 9 10 11 jo CROCHET EDGE LACY SQUARE: CHART 1 Y< 39 Y< Y< v 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 41 Y< . 36th. 25th. 27th. Dec 1 st at each end of 12th. repeat from * to first de of corner. MAIN TENSION 19 sts and 24 rows to 1 Ocm measured over st st (tension dial approx 0). Kl row.K_ 11 Empty Nin NWP Return empty Nto WP v RC RC 20 The edging was worked using a 3mm crochet hook as follows: 1st Row: 1 double crochet (de) in approximately every 3 rows.::z 36 34 32 30 28 26 24 22 >< >< >< >< >< v 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 >< >< v 0 0 0 0 0 >-«- 20 18 >-«- 16 14 12 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 49 47 Y< v 0 0 0 45 43 Y< Y< Y< Y< Y< Transfer left hand st to right hand Nleaving empty Nin NWP . 28th and 30th rows. K a few rows and release from machine. 18th and 19th rows. de in next tr) twice. Dec 1 st at each end of 42nd. 15th. 75 stitches.K_ 21 19 Transfer right hand st to left hand Nleaving empty Nin WP >< 17 . left hand stitch crossed over right hand stitch (leave centre stitch of three untouched) . Approx 220g (50g makes approx 2 squares). 4th Row : 1 de in first tr. 1 tr in next de) twice. Transfer sts as for first lace row. This edging may be threaded with narrow ribbon as shown. at comer work 5 tr in centre tr. Turn the work and replace on same Ns. K2 rows. Transfer sts as for 2nd lace row. at corner work (1 ch. RC 30.on next and foll row. 48 >< 46 44 38 v 0 0 0 >< 42 40 51 v 50 >-«- >< t>. LACY SQUARE: CHART 2 19 18 17 16 15 14 >< Y< ] As given for Chart 1 12 1ov 13 Y< Y< Y< Y< Y< v. *3 ch. 34th. See Chart 2 for pattern for second half.

on the sample cushion.RC 44.. Cast on by st at each side of centre st and cross hand ('e' wrap). 30. 14 and 16. • • .. 6 and 8. Dec 1 st at convert sis indicated (one each side of each end when RC shows 36. 32 and 34. . the work and replace on to the same RCOOO. 24. ··.NOTE on to the same Ns. a line 53 sts. Dec 1 st at each end when RC cushion pad and join 4th side. shows 2. A seam like this with purl side in st st. Inc 1 st at each end when RC of fabric facing can sometimes look shows 39. Turn the work and Before knitting row 17. with adjacent st in direction shown on RCOOO. 9. con­ vert and cross as indirated. 40 and 42. reading from chart Work a circular cord over 4 Ns. Join front to back on 3 sides. same Ns. Continue shown. drop down. when RC shows 9. K until RC shows chart.K2 rows and cast off. 38. Using MT. drop down and replace on to the same Ns. 30.Inc 1 st at each end when RC shows 18. 8. 22 and 24.. same Ns. Before knitting row 23. 4. 3 sis.'WK but do 14 and 16. PATIERNED SQUARE Work four alike Push 2 Ns at L and 1 N at R of centre Turn the work and replace on to the 'O' to WP. not break off MC. sts as shown. WK but do not break off MC. 34.. 6. 29. centre st) and cross them as shown to 40 and 42. 28. 'DIAGRAM 3 make a cable. Note that stitches need not be converted TO MAKEUP until the row is reached where they are Join the inc edges of the 4 squares as to be crossed. Dec 1 st at each end Knit side is used as right side. WK but do not break off MC. 122. 19 and 20. 20. approx and inc 1 st at each end when RC shows 162cm long. WK but do not break off MC. of chain stitch embroidery was worked Turn the work and replace on to the over each seam. 39. RC38. 19. 29. CAR. Cast on by hand ('e' row. 4. inc 1 st at each end Ns. uneven. 12.Turn the work and replace shown. Before knit­ BACK ting row 21. 47 sis. Dec 1 st at each end when RC shows 18.. 26. I DIAGRAM 5 20 . Inc 1 st at each end of next row. 28. " . . . 12. Turn wrap). 32. drop down and convert 7th Push 76 Ns to WP. K1 when RC shows 2. EDGE TRIM Continue in this way."' f' '. 0 • 0 . 10.Dec 1 st at each end when RC shows DIAGRAM 1 DIAGRAM2 K1 row. Cast off. 36 and 38. CAR. • • DIAGRAM 4 . K2 rows. 26. Refer to cable motif chart. Insert RCOOO. Using MT. WK but do not Sew circular cord round all edges as break off MC. 10. • � " I • .

Tum over a narrow hem and slip stitch into position. 0 21 . Three or four of these grouped together would give a sophisticated look to a sweater. You can make your own heart in what­ ever size you need and again add beads or sequins as required. I hope you Wlll sort through those scraps of fabric and beads that you've got hidden away somewhere and I'm sure you will surprise yourself with the results. machine stitch carefully along the lines of the pat­ tern. THE BASIC METHOD To produce the geisha lady in Sample 1 requires a small piece each of satin fabric. Lace collars are in fashion at the moment and the result shown in Sample 4 was achieved at a fraction of the cost of buying a ready made collar. When the stitching is complete. lightweight polyester wadding. for example. A LITTLE LACE FOR SUMMER Sample 3 shows how you can take a small piece of white lace and transform what was a fairly ordinary summer top. copy this on to trac­ ing paper. Here again these could be further highlighted with a few beads or sequins if desired. WITH FABRICS INCORPORATING OTHER MOTIFS The small padded heart in Sample 2 is in fact a purchased applique and I have added a border of beads around the outside to set it off. but they can work out very expensive and are not always in a colour or design to harmonise with your garment. Tack the tracing paper to the right side of the three layers of fabric. Obvi­ ously you can use as many beads and sequins as you wish. Pull threads through to the wrong side to fasten off. they offer a wealth of possibilities. Tack the three layers of fabric firmly together. You could. Experiment with different width and lengt_ h stitches until you are happy with the result. either from a photograph or your own drawing. Not always possible when e design is knitted in. Look at the lace care­ fully and determine where you can cut safely without affecting the sup­ porting structure of the fabric.I do not want in any way to decry the many gorgeous satin and beaded motifs which are available to pur­ chase.if it all goes horribly wrong you can usually remove it without a trace and try again. tear away the paper and cut carefully around the outer edge of the motif. I have added one or two flowers cut from the lace for extra effect. It is possible to make these motifs yourself and the process requires very little skill. One thing to remember Wlth surface decoration . Once you have found your pattern. Using a narrow zig-zag stitch work round the outer edge of the motif. Using either a matching or contrasting thread. lightweight cotton fabric for a back­ ing and a few pearl beads. BE BRAVE! I hope these articles will encourage you to try out some of the differ�nt ideas. Cut a length long enough to fit the neck­ band. Look around your local fabric shops or even the charity shops for pieces of lace and other unusual fabrics. depend­ ing on whether the garment is for day or evening wear. Finish off with a few beads as required. As I have said before your greatest com­ modity is your imagination. Sample la shows the work from the reverse side. add an 'arrow' of beads going through the heart.




11 9 17 1 15 13 11 9 7 5 3 1 DROPPED STITCHES Ifyou are picking up a dropped stitch on the back bed. One quick and interesting method of adding further colour is by using tex­ tile paints. double check that you have picked up the one below it. ensuring that the yarns flow freely from here. DECORATING THE MOTIFS There are many ways that the motifs can be further embellished. If the two strands become twisted they will cause a 'funny' hole on the right side of the work. embroidery. work out whether the other colour lying between the two beds runs between the two front needles. When picking up the dropped stitch. Also.don't race across at stocking stitch pace! Remember that you are working with a comb and even though it is weighted. the motifs could easily be worked in Intarsia. (Note: Thelma gave lots more tips for Singer Jacquard knitting in the March and April issues). There is a wonderful vari­ ety of these products available now and the air drying and curing types are particularly suited to knitwear D 25 . Double check that all stitches are 'sitting' in the hooks (if any have slid behind the latches. Try using the six-pronged trans­ fer tool (dropped stitch in the middle). For instance. Although labelled as 'Singer' tips. SINGER TIPS KNITTING SPEEDS Use a slower and even pace to move the carriages smoothly across the beds . Unravel the main colour first right across the row and then the con­ trast colour. they will be dropped stitches on the next row] before resuming knitting. it will tend to swing about a little and excessive swinging can cause dropped stitches. Thelma's advice is valid for double Jacquard techniques on other makes of machine as well. when additional colour details could be added during the knitting. as well as in response to the even pace of knitting. so you can see the right side of the work. 14 11 10 18 16 14 11 10 8 6 4 1 23. then a little Swiss darning. even applique could be added for a variety of 'looks'. Some of the methods used will depend upon which knitting technique you used to make them. be extra careful when dropping the front bed to inspect the work. Check your tension mast. Once the work has been removed from the machine. ·· -­ ·==- -l-+-l-+-l-+-l-+++++-1-+-14-1-+H-+++-t+-t-t-1-+t++-t-+++t-H-HH-H-tTrtlt� �= =- UNDOING ROWS Always use tools to unpick end stitches.Jacquard knitting on a Singer machine was the method used to knit the orig­ inal samples.

:. - . . . . .. . 1111 . ·r. · 1111 · · · f : : : . I simply added a double border of contrast all the way round and knitted up the result in double Jacquard (using 1 end of2 ply cotton for each colour).I:1:: :iiiillll .. .. . so select a reasonably fine brusli to start. From this blend I can then go on to the pure mid colour and continue with this....:::. """"' . : : : :iiiillll · ·llll iiii::: : ::: iiii 1111 · . . :: : : · : 11. . H-l-+-l-+-�. Virtually all textile paints suggest that you do this.:'. . Before the paint dries.. -++-t-++++-+-t-t� = =­ =- : �:t·��::. There are a variety of spe­ cial brushes available for textile paints. so the navy and white (cotton) was an obvious choice... . ...' ... . ·llll iiif : • . 11: heat pressing required which might spoil the texture or finish of synthetic garments in particular. . outlining and filling in the areas where I want it. .i'. a plas­ tic bag between the fabric and my working surface (in case anything leaks through) and I'm all set. .. . .. . : : : : ·: ·: : : : : : ... ... on to which I squeeze a small amount of the colours I have chosen. 1111 :: 1111 . ... .. . to get a grad­ uated look.· ·.. ·llll iiii: : : ::: : : iiiillll.:·.. .. .... then I would have washed and dried the pieces before painting...: :: I :1: i 1: 11•1111' "'"1I... .. . wash the piece immediately and all the paint will be removed). so the motif was 'framed'..... . . : : : : : ·: :· : : : : : . .. ... .. .... . .. If! had been design­ ing the motifs for a garment and the sample had been the garment piece. .. I move on to the next darker shade and mix it in my palette with the light one and then use the blend at the edges of my light coloured area. into their own little section..::::l1=·=­ s=•=3c=>2·�·=(:::Ji. . my preference is to use a brush.... : ....... A small dab of paint on the end and I start with the lightest colour.. . . "' · ·· .. . . • : :: Ii: : : 1t1• l 11I II 1: 1::111: 11... However.. but for the time being.:.. . ... .. This gives a slightly '3-D' effect which can add to the drama and texture of the gar­ ment.II. . I don't trust myself to squeeze (the bottle) evenly so have invested in a little plastic palette...... so that had to be the one I decorated! It also fitted in with our slightly nautical.. ��.H--l-+-l-+-++++++++++-+-+-t1:�:: .. ....: 1 ':1::1'r1· 1I " 1 .. ...-:::J8. •· : ii : .. holiday feel.. <.. . . • .. .. ... . 11111111 .. . I try and blend the colour joins together.g s=o•::::i­ r. .... : i : . . To cover the background fabric I find that working in the up and down direction of the stitches is 26 --1--1'-+-l-l-+-+-+++++++++++4-Hl:==i ::::: :: CJ­ ljj:tttitttttttt:tt::tl::tll§2 CJ :: �ttW=tttt:t:l::tt::tl::tl���l=l�§1�= ����-�1-�•"11-t'"':J"'t..1.. . . ... 1111 II .. . .t1: 1�.. . ... Whilst the paint is still wet... ..: .. . .. ..�= 17CJ- • .... PREPARING PISCES Pisces is my sign.. THE PAINTING I prefer to err on the side of caution (although if you hate your results or smudge something irreparably. . 18 16 14 11 10 18 16 14 11 10 8 6 4 1 1 9 1 7 1 5 1 3 11 19 17 115 113 7 5 I 3 1 : '' :' 1 1 :.. .I11 1.:1 . .'�- W:1QQ!!ff:ji[i]lli48:Ill!ill!ifW -++-+-++-+-t--H-il ci = -- Many products have a fine nozzle and suggest that paint be applied directly to the garment. when painting over motifs or the like. Bfffffli����-=�s�l!Siiiii����llc::J 2CJ­ ::J loc::: ·=- 8CJ·=­ s=·=­ 2=­ ·=­ ==­ ==­ -7CJ- lc:J- D ..:::i=1i:-�o:::i9..l-j:+-::j:+::j:+=l+=l-+=lb11111111-tl-tl-t+.. I thought the fish might make an attractive picture or cushion cover... I make do with a very cheap set of plastic bristled ones sold for children! A small pot of water to hand . . which greatly assist in creating a vari­ ety of effects (they are on my 'must buy' list at the moment). . .useful to wash the brush regularly and also handy for thin­ ning out the paint as needed.. ....:11r. ..:M�:::.. .

Cc::::J13c=J12c:::J­ llCJ­ IOCJ- a=- ·�­ >=·=- 2==- ��:t D 27 .. but admit that I have inadver­ tently included painted fabrics with my normal wash CTuckily a 40"C cycle) and tumble dried them. Stockport SK12 4/Z (Tel... A 30ml bottle costs approximately £1. A larger area would be completely dry in 24 hours at most. with a light spin and air dry.i:x::i::J = = mm�= ������=� § __LJL_W� =­ lc:J29CJ::J :a:::=- 1=­ "=·=­ 1=1==­ ·=­ =t:t±:tt±±±±t:tt:tt::t:t�:t:t:::rJll:+t -- :i. your motif knitting can define the picture for you. St Georges Road..=§:= ::tltl. -+-ll :� = 1. so the painting is just like using a child's picture colouring book! The paints I used this time are called 'Scribbles' and should be dried flat for four to six hours (my small area was touch dry in about an hour).�.� : i�� ����������������������������������= i -+-+-+-+-r. New Mills. you could always use up the spare paint in your palette on a swatch of the same fabric and experiment with the washing before treating the garment care in a more casual fashion! 'Scribbles' should be available at your local craft shop. after all. 0663 745379). but if you have any difficulty in obtaining them.s::::J = R=R=Fl� : ttt:J=..a L_j_Lm·�19CJ18c:J- . I tend to leave the fine details until last.='=­ ·=­ ==­ =­ =-==- ��:!1!l333EEEE!f!l33EEEEEf!l33:EEEEfI33333EEEE�l3333EEEfll3333:EEEf�r. by which time my eye is in and I feel confident about covering just a single stitch at a time if needs be.9CJ§: �tE��=� E =Pct=�F .best Working across the work is easier once there is a coating of paint on the fabric..-++ .. You don't have to be a great artist to get good results. The manufacturer suggests turning the garment inside out and washing separately in warm water. With my favourite painted garments.� = 11::=i=SCJ- ttJoC'= t:t: �e:a. I use a hand wash liquid and cool water every time. 22 10 18 16 14 11 10 8 6 4 1 13 11 19 17 15 13 11 9 1�����������������6=- 5==­ '=­ b=­ =·" =7=·=5=·=­ .. details of your local stockist are available from Star Craft Ltd. THE FINISHING That's all there is to it. I find textile painting very relaxing. Allow 72 hours before you wash your master­ piece and then do it with a little care. I call it 'play­ ing for grown-ups'. Campbell's Mill. but count the fact that my painting was still there afterwards due as much to luck as anything else! However.99.

2. this uses up the extra rows. The actual sizes worked were 76cm (Card 18) for the 'guernsey' sweater and 71cm (Card 17) for the sailor collar sweater. K2 rows. this is where we started the 50 rows of Intarsia for the whale. so we added a few extra rows to allow for this effect. When ridge position is reached. K2 rows) 3 times in all. It kn itted perfectly to the required tension of 28 stitches and 40 rows to 10cm [f6• on Brother 910 and 965 machines). When . Four extra rows have been added. 24 + 19 = 43 sllt. K2 rows. This last sequence forms one complete ridge on the main fabric. we placed ridges thus: After rib complete. Pull out DIAGRAM 1 FRONT RC 70 Armhole marker -1fJR16x Inside edge . K2 rows) 4 times in all. extra rows added and then 're-knitted' back on to the body again! WORKING THE RIDGES The ridges can be worked in four dif­ ferent ways.Getting the best from the . Don't forget. +13/R19x Outside edge Armhole marker waste yarn. It could. K until RC shows 74. Using waste yarn. but we wanted to suggest something slightly 'nau­ tical' in the shape as well. Using the garter carriage. When the rows have been done. so: 70 . if carriage is at the right before you turn the work. cast off. of course. use a card punched across the row.38= 5212 = 26 sts 26 .43 = 27 rows over. use the flat edge of the ruler to push needles to HP. this can be extremely useful. Transfer sts to MB. Using the ribber. For growing children. Set RC at 000. PLACING THE RIDGES For the 76cm size. transfer stitches to RB and using -/MT-1. 4. Leave the ribber comb in situ throughout. simply be applied to any basic shape. A sleeve can be easily removed. according to the equip­ ment you have: 1. especially at the armhole and shoulders. You do this every time you need to 'turn work'. Remove weights when knitting on the main bed and add them again when work­ ing on the ribber bed. CARD SELECTION AND YARN PRACTICALITIES The cards were selected from the 'Dropped Shoulder Sweater' RC 13 RC 000 RC 000 38 sis 90 SIS BACK 106sts 90 . turning thus: Transfer stitches from main bed to ribber. The armholes were attached to the top of the sleeve in the same manner.2 = 24 SIS. On the front. This should suit every type of machine and knitter (beginners to waste yarn knitting. To make the stitches knit cleanly when they are all on the ribber. see this months 'Step by Step' on page 10). All needles on the main bed should be pushed to NWP. this can be used to transfer sts to and from either bed.Marion Nelson cards The little whale motif was the start­ ing point for the navy sweater. This eliminates the need for waste yarn and you don't need to adjust the RC in any way. locked and work the number of rows required. Reset RC at 4. (Turn work. So 24 sts to bi1_ decreased at outside collar edge. KNITTING THE 'GUERNSEY' Many guernseys are characterised by the use of garter stitch or reverse stocking stitch ridges. BUT we are also increasing 19 sts at inside collar. especially if you don't want to 'flatten' the ridge. We wanted a 4 ply easy care yarn so chose Yeoman Panama (a 50/50 Acrylic/ Cotton mixture). which doesn't. K2 rows. 3. Instead of turning work. so went for the reverse knitted ridges to give a guernsey-type look. but ensure the carriage is set to knit them back. trans­ fer stitches back to main bed. with the min­ imum of fuss at the shoulders and armhole edges. We need 43 . either manually or using the rib transfer carriage. which gives us the pattern shown. The shoulder was left on the machine (wrong side facing) and the shoulder from the back picked up on to the same needles and after knitting one row. This is the REAL number to be decreased so that collar points end in the middle. Using a garter bar. Such reverse ridges can pull the work up a little. As a complete contrast for the girl's garment we added a sailor collar to the basic 'V' neck version.1 2/R 27x Shoulder se. which will be worked on every row. Using waste yarn. An advantage of this trim was the ability to make up the garment on the knitting machine. require the use of comb and weights (although a small weight might be useful to stop the stitches 'bouncing'). Set the carriage so RC starts counting again.27=16 more decreases. of course. K a few rows and remove from the machine (there is no need to break offMC. Turn the work round and replace it back on to the same needles. you will need to take it off and replace it on the left to continue the work and vice versa. simply remove it from feeder). an easy variation of 3. stop RC counting. Note: If you have the U100E and a Passap/Pfaff machine. which can be omitted on the back. (Turn work. the 2 done on the ribber before transferring and we've worked 6 since commencing the main fabric. There are 70 rows to work the decreases in. or set MB car­ riage to slip/part/empty in both direc­ tions and leave needles in work. So if we dee 1 st at outside edge on alternate rows 27 times.

follow the 'V' neck shaping to increase. However.the whale is complete. we chose to work the decreases over the total of 70 rows. so 70 . which is why the inside shaping starts when RC shows 13. However. The calculations are shown in Diagram 1. see Diagram 1. Stripes need to be narrow and simple as this is a small piece of knitting. so that either an edging or a knitted hem could be added to the outside collar edges. by turning work when RC shows 2 rows less than shoulder cast off (for our size this would be on row 74). we need to take the 5 7 rows used for inside edge shaping away from the total required. it is easiest to knit the collar if we start at the back. you don't even need to calculate any- 1 1 8 7 6 5 4 3 2 1 0 9 8 7 6 5 4 3 2 1 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 • MODIFYING THE RIDGE POSITIONS If you aren't knitting the whale. work the ridge. The neckband shaping was worked by following round neck shaping instructions at the appro­ priate row-in our example it started when RC showed 40 and we cast off when only 2 sts remained at the edge. you can add in a 'half ridge. K2 rows (RC shows 34 after armhole marker) and work reverse ridge. provided it doesn't exceed the maximum stitch width of the main garment. then turn the work once more. Put the appropriate Marion Nelson card next to the diagram and you'll see that we have used the original neckline shap­ ing to knit the inside edge of the collar . As we're now working upside down. or make up shoul­ der if working on second piece. To work out where to start the inside collar shaping. In our example this was 8 + 50 + 8 + 4 70. 44 of these rows come after the armhole has com­ menced. as with the whale. When you are putting in a band of pattern. It doesn't matter how wide you have the collar at the back. the garment has been turned upside down. add up the total rows of pat­ terning. complete with a stocking stitch neckband The striped insert was worked by following the 'V neck shaping (start with 2 stitches) and instead of decreasing. until you complete the next piece. For a bolder yoke. the outside edge shap­ ing is down to choice and as there are more stitches to be decreased. = = - = THE OVERALL LOOK A pure wool or cotton content yam will give clear stitch definition to the ridges. so essentially. You now have a choice. then ridges can be placed as desired. plus a few calculations to shape the edges. from when RC was O (which was the pointed end) we needed to decrease 1 st every 3rd row 19 times. THE SAILOR COLLARED SWEATER The basic garment was worked as a 'V' neck version. For the sleeves we worked a reverse ridge immediately after the welts and then another one starting 8 rows before the sleeve finished. plus two complete ridges (8 rows for ours) and a 4 rows neckline clearance. From here on the rest of the yoke will show the purl side. So. so 2 rows in each colour were knitted. 26 com­ bined pattern rows come before arm­ hole is marked. Remove first piece. The insert was given its own neckband in MC. CALCULATING THE COLLAR The collar was worked using a com­ bination of the original garment shap­ ing. How­ ever. and navy or Aran colouring is traditional. or. try and work one set before the neck shaping (make sure it ends about 4 rows before neck shaping starts so that the neckband won't hide any of the ridge). which was the RC number we started the border ridges framing the whale on. 50 49 48 47 46 45 44 43 42 41 40 39 38 37 36 35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 I 12 11 10 9 8 7 6 5 4 3 2 1 • 29 .44 26.if you want a 'guernsey'type appearance. so the combination of yarn type and colouring is quite important. 1 0 0 26 74. K to shoulders as given on card and WK or remove on a garter bar. from our exam­ ple. Simply sew the insert into position behind the 'V' neckband.thus ensuring that it will fit cor­ rectly. 3 x 19 = 57 rows. CHARTING THE COLLAR If you have a charting device. we had 70 rows in which the neck shaping (on the original) was to be completed However. This gives the yoke effect. We left a border.

just one calculation.. How­ ever.thing. draw the collar on as in Diagram 1. : _ . so you can now go ahead and set up the correct stitches and rows for the charter and knit the collar very quickly. or even add a fancy edging as desired. Using the measurements on the cards (sorry. . FINISHING To complete the garment. Your tension is known.. .so go on. pick up the 'V' neckline (in 2 or 3 pieces either point of 'V' to centre back. you could work a knitted hem or rib edge. as shown in the diagram -starting with the depth of collar you want at the back. join the collar and the garment using the neck­ band.. . try adapting! 30 _. Draw the back and front sec­ tions on to the charting paper. you can easily adapt to a lady's sailor collar with set in sleeves. or a unisex guernsey for either him or her .. With right side facing.. With right side ofcollar facing. pick up corresponding edge of collar and hang on to the same needles. . or 'V' shaping sections worked sepa­ rately and back neck worked sepa­ rately). Using the principles here. . back neck width). The outside edge was finished with a row of double crochet in MC and a row of crab stitch in C. Work the neckband and sew through both thicknesses when sewing down the neckband.

0 31 . fish. whatever your machine or model.pull out and keep section with ideas for ALL machines Mainly motifs are featured in this month's library. by featuring motifs for different types of transport. check out our suggestions. some unusual sea serpents. to suit all members of the family. A set of dolphin patterns to suit rNery type of machine repeat. We're sure you will find something here. which extends to an 'out and abouf form. sailors and a yacht continue our holiday nautical theme. and use them as a basis for 'doing your own thing'.Library Build up your Stitch Library. in a wide variety of themes and pattern sizes. from helicopters to racing cars! There are so many ways of using these designs.

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The grey area at the beak should be added in Swiss darning once the motif is complete. Working from the punchcard and the chart. Use an electronic or Duo machine and punch black areas from chart only. The lower set of dolphins could be used alone as a border. with its counterchange of another row of dolphins. so that they will also knit in contrast colour. this may also be a more suitable size for smaller children. Swiss dam beak as given in 1. the 'water drops' a different colour from the dolphin and the beak contrast worked at the same time as the main knitting. forward. Using this method. 2. 33 . For 24 or 30 stitch repeat systems. The whole motif can be worked in Intarsia. Suitable for any machine with either some hand selection (see 2) or working in Intarsia (see 3) 1. or the pattern used as shown. the 'stripe' up the dolphin's back could be in a different colour to the background. 'extra' needles at either side of those selected by your machine. results in this more appropriate design. SMALL DOLPHIN Pattern 'B' 24 stitches x 48 rows Designed as a single motif for 24 stitch punchcard machines.LARGE DOLPHIN Pattern 'A' 40 stitches x 80 rows Suitable for all electronic and European machines. the centre 24 (or 30) stitches can be punched from the chart. but adding a few more 'water drops' to shorten them. 3. pull REPEATING DOLPHIN Pattern 'C' 24 stitches x 96 rows Using 'B' as a repeating pattern would create rather large floats.

. but alternatives are possible.•• •• ··. try combining the large and small serpent shapes in one garment for a really unusual design. Ii - :··· • I- • • - • - I "'• •• .. .. . Mark the mylar sheet for the serpent and then leave either part. Place fish in centre of the repeat as bottom of pattern (omit background at first). . Use a variegated or colour change yam in bright colours on dark navy for a tropical fish look. . 40 or 60 stitch repeating systems. I • •• • ••• •. -· ••• I I �.preferably in a metallic glitter-once the knit­ ting has been completed. SMALL SERPENT Pattern 'E' 24 stitches x 77 rows Redesigned for non-electronic machines. although could also be worked using Intarsia. 30..• •• • =· .. For 30 or 40 stitch repeat systems.the motif could then be painted (see Maxi-Motifs for ideas). . Worked in navy and white it is quite dramatic.on plain background . Background bubbles can then be added as desired to shorten floats between the fish. 3. the pattern could easily be redesigned. •• -I •• . Suitable Adaptation: On an electronic machine.. Suitable Adaptations: 1. or all of the trident to be Swiss darned.. -··· r:• ••• . . Then place counterchange fish row so that it fills 'blank' areas between the first fish.•.. Use a fish as a single motif . . - R •• • ••• - ••• • • I •• ··- . • •• -••. FISH Pattern 'F' 24 stitches x 64 rows Designed for 24 stitch repeat systems.• -- . • •••••• • • I .."'"' •• • "'•. .LARGE SERPENT Pattern 'D' 50 stitches x 156 rows This unusual design is most suited to electronic machines. this could be worked on 24. . . •• ••• 1"' "'•. . 2... •• -·· ·. but would make a sensational holiday evening look if the whole motif were worked in lurex. . Punch the black areas only and Swiss darn the trident in later. .I •• 34 ii • • -- "' - •• •• ••• • I • I "' 1• I •• -·· • ••••• • •• -· • • •• • . .

2. or as a motifon a 40 stitch system (such as Duo). so the car and border could be punched on a 24 stitch repeat. or 24 stitch punchcard machines ifhand selection is done on stitches outside the centre 24. 40.36 at left or right of 'O'). work a border. so two could be used on a 30 or 60 stitch repeating system. 2. YACHT Pattern 'H' 30 stitches x 66 rows Suitable for electronic machines. It could also be worked as Intarsia on basic could also be used as a simple repeating pattern (they will be quite close on 24 stitch systems. We changed the colours as follows: Feeder 1/A Feeder 2/B Rows White Navy 6 Red 3 Navy Blue Red 1 Blue Yellow 50 Blue Red 5 RACING TRACK Pattern 'J' 36 stitches x 55 rows Designed for electronic. reset the card to start at the beginning ofthe car. the car could also be worked using hand selection either side of the centre 24 stitches for a 24 stitch machine. but over a different set of24 stitches (e. 2. with about 10 -15 stitches between cars so that the colour ofeach car can be changed as you go across the row.g. Work the first track border right across the garment. 30 stitch or larger repeat systems. Work the second car motif in a contrast colour. For larger repeating systems . Suitable Adaptations: 1.DANCING SAILORS Pattern 'G' 49 stitches x 46 rows A fun border for electronic machines. A second border can then be worked for the other side ofthe track and the finishing flag worked as a single motif in any suitable position as desired. second over stitches 13 . After the first car has been worked (as a single motif). but there are possibilities for use on smaller repeating systems. It could be used on other systems with modifications: 1. using double Jacquard as some ofthe floats are rather long. first car over centre 24 stitches. Swiss darn the wheels in black if desired. Each car is less than 24 stitches wide. we knitted the sample in 2 ply cotton. Two sailors would fit into 30 stitches. 35 .40 stitches through to electronics. bright look. We changed the border and track colour and the colours of the cars for a bold. SALOON CAR Pattern 'I' 30 stitches x 18 rows Suitable for 30. 60 stitch repeat systems and electronic machines. Use the centre sailor as a motiffor a 24 stitch punchcard machine. The. better spaced on 30 stitch repeats). Suitable Adaptations: 1. 40 or 60 stitch repeat systems as shown.

. . ..:.�� 18 16 -'--..-- - ·- .��+. or could be adapted as given for the tractor pattern.. -- " " t� l - - l-. 2.-'-'-'+-'-'-'-4:.-- . . ... . It could be worked in Intarsia on all machines. ""-'-'-"... . .-�l._. but there are easy adaptations: 1. so this should prove a popular motif.aJ.-. . "" - - - _-_ "" - .j.�j'--7-�����--. : 36 - -- -- " - _ - L 1 · -- - " "" -�--..-....t!Jiiilft 61 66 1• 61 111 ...!m-'-' '-'--T 30 . .c. ... If spacing between tractors is adjusted.. H 11 10��+4-+4 .. 11 Ii H ll -7!-1F-'�11Hf9.-.--... 31 36 3• 31 ....:.- "" - - - ·.. .- - - :t __ " " " " - "" --- : __ . u 11 1.-. .. 40 or 60 stitch systems...nil 0 '6 44 H 0 . Knitted in fine cotton in double Jacquard makes the motif smaller and taller.. .. but different yarn types and knitting techniques would change the proportions ... ...lARGE HELICOPTER TRACTORS Pattern 'K' 24 stitches x 40 rows Shown as a 24 stitch repeating border. . ... H'-'-'--'"-" 51 56 5• 51 50 . . 8 6 4 1 BICYCLES Pattern 'L' 24 stitches x 60 rows Shown as a 24 stitch repeating pattern.--.--�"--'-'-'-4'������--*� """*-'�*"-'-'--'-'l'-'-'-. . II 16 . .-. . Helicopters have their fans amongst males of all ages. '""-'lll-4'-'--'i . .-'-"'-ll .try alternating pushers and AX plus an arrow on the back bed.. This will increase the fabric width.+-.U. SMAll HELICOPTER Pattern 'N' 40 stitches x 49 rows Designed for Passap/Pfaff or electronic machines. . '-'--" . .. can be used as a repeating pattern on other systems. .-. . . . but if the 'dotted' background is omitted would work well as a single motif.. Pattern 'M' 60 stitches x 78 rows Suitable for 60 stitch systems and electronic machines. .. . Can be used as a single motif (first tractor) on 24. . .." .. 30. ..l.-. .-4--..i-. ...

Colour suggestions for Intarsia: a=dark brown (could make this black for eyes if desired) b = mid brown c=gold lurex d= black (add a white dot 'h' in centre of nose if nose added) e=red · I I 2 2 311098165431109816543111 2 3456189 0113456189 0 11 1-+.. If knitting as an elec­ tronic single motif. This is how the sample shown was worked.++-t-t .Hl.r- - 37 .the mylar sheet and Swiss darn in the details you want when knitting is complete.Pattern 'O' 45 stitches x 70 rows PUPPY Suitable for electronic machines. omit the ancillary colours when marking.. or for Intarsia work.




Dec 1 st at L edge 41 . Using MC and MT. Cont on rem 58[60:63:65:68) sts at R for first side. Set RC at 000. Using nylon cord. Cast on by hand ('e' wrap). Man's Double-breasted Tuck Stitch Jacket MACHINES: T hese instructions are written for standard gauge punchcard machines with ribber YARN· Texere 4 ply Wool FIBRE CONTENT' 100% Wool COLOUR: We used Navy (MC) STOCKISTS: To obtain this yarn. Release punchcard and set carr for tuck. reversing shaping and noting difference in rows to reverse shaping. Inc 1 st at neck (R. Using MC. 3[33:4:4) x 400g cones in MC. PUNCHCARD PATIERN Punch card before starting to knit. Atthe same tm i e. Cast off rem 5(6:6:7:7) sis. Set carr to select/ memorise without K and take to L. where there is only one set of figures.SIZES ro suit chest 102[107:112:117:122Jcm. Work as given for back until RC shows 160. cast on and K3 tubular rows. Using a sep­ arate piece of MC cast off 28[30: 30:32:32] sts at centre. At the same time. Sleeve seam 52cm. set carr to select/memorise for pat! and K1 row.Place a marker at each edge. Cast off 10[11 :11 :12:12] sis at beg of next and every foll alt row 4 times in all. Using MT3/MT-3. K 58[60:63:65:68) sts at L by hand. set carr to select/memorise for patt and K1 row. Push 24 Ns to L and 72[75:78:81:84] Ns to R on MB and corresponding Ns on RB to WP. this applies to all sizes. Figures in square brackets [ J refer to larger sizes. The front edge is oppositethe neck edge after the shoulder shaping. K40 rows. When dee complete 92[95:98:101:104] sis. 6 gold buttons. SHAPE COLLAR Keeping front dee correct throughout K until RC shows 325(325:325: 330:330]. MATERIALS Texere 4 ply Wool. K until RC shows 222.CAR. 2 inner buttons. SPECIAL NOTE Please read instructions for front through carefully before commencing. R for R front) edge on next and every foll 6th row to end of garment (see special note). Set RC at 000 Using MT. Release punchcard and set carr for tuck. Arrange Ns for 2x2 rib. Set RC at 000 Using MT. K until RC shows 314(318:318:324:324]. Transfer sts to MB. SLEEVES With RB in position set machine for 2x2 rib. Unravel nylon cord from sts at L bringing Ns down to WP. 20% Nylon). Tension must be matched exactly before starting garment. K until RC shows 306(310:310: 316:316). CAR. as the front pattern continues up and ' around' to form the shawl collar (as shown on diagrams). K until RC shows 10. K until RC shows 125. College Mill. Insert punchcard and lock on first row. at the same time when RC shows 150. Push 144(150:156:162:168) Ns on MB and corresponding Ns on RB to WP. LEFT FRONT With RB in position set machine for 2x2 rib. ABBREVIATIONS See page 54. Inc 1 st at each end of next and every foll 6th row 35 times in all. SHAPE SHOULDER Cast off 10[11:11:12:12) sis at beg of next and every foll alt row 4 times in all.140[142:142:144:144] sis. K1 row. Measurements given are those of 1inished garment and should not be used to measure work on the machine. K until RC shows 286. 37 sis. set carr for tuck and work L side to correspond with R. RIGHT FRONT With RB in position set machine for 2x2 rib. (K1 extra row for R front). 96[99:102:105:108] Ns in all. Work as given for left front.Reset punch­ card to noted row. Finished measurement 120(125:130: 135:140Jcm. RIGHT COLLAR AND FACING Push 22 Ns to WP. Length 71[72:72:73: 73Jcm. Using MC. Bradford. (K1 extra row for R front). K1 row. Transfer sts to MB. Cast off 10[8:11:9:12) sis at beg of next row. Push 70[72:72:74:74) Ns on MB and corresponding Ns on RB to WP. please write to Texere Yarns. Barkerend Road. Arrange Ns for 2x2 rib. 5[5:6:6:6) x 250g cones in MC. Cast off rem 10[8:11:9:12] sts. when RC shows 160(162:162:166:166). SHAPE NECK AND SHOULDERS Note punchcard patt row. Release punchcard. BACK With RB in position set machine for 2x2 rib. CAR. West Yorks BDJ9AQ MAIN TENSION 24 sts and 50 rows to 1Ocm measured over tuck pat! (tension dial approx 9). Place a marker at armhole edge. Insert punchcard and lock on first row. 27 sis and 35 rows to 1Ocm measured over st st (tension dial approx 9). atthesametime. K until RC shows 160(162:162: 166:166]. Inc 1 st at R (L for L collar) on next and every foll 5th row through­ out the whole piece. Cast off 6 sis at beg of next and every foll alt row 5 times in all. Using MT4/MT-4. Cast off. cast on and K3 tubular rows. K30 rows. OR alternative Texere Wool and Nylon (80% Wool. dee 1 st at neck edge on next 8 rows. Dec 1 st at front (L. SHAPE FRONT Dec 1 st at front (L) edge (R for R front) on next and every foll 40th row 4 times in all. taking Ns down to NWP. NOTE Knit side is used as right side. Push 24 Ns to R and 72(75: 78:81:84) Ns to L of centre 'O' on MB and corresponding Ns on RB to WP. L for R front) edge on next and every foll 5th row until RC shows 362(368:368: 378:378].

Lady's Tab Collared· Summer Top DIAGRAM 1 Button/buttonhole placement Illustrated on page 39 Work the buttonholes approx 2cm from front edge MACHINES: These instructions are written for standard gauge I----< � 0 I----< . CAL).5 16. Cast off 7 the seam. where there is only one set ABBREVIATIONS of figures. Cobalt (8) and Turquoise (C) STOCKIS1S: To obtain this yarn. Allow the facing to roll shows310[314: 314:320:320).5:70] 40[41: 42 5 44:451 58[59:59:60 60] SLEEVE "' :a' "' . Hebden Bridge. . revers­ buttonholes and 2 button loops (see ing shaping and noting difference in Diagram 1 ). 15.. Stitch 2 inner TO MAKE UP buttons on the left side. �a "'M m crib NM � BACK FRONT � � "' � CJ :z c::. K until RC shows 240. 45 sts.5:185:19:19] �I � .. Finished measurement 96[104:113Jcm.5[18. See page 54.. Knit side is used as right side. RC 320[324:324:330:330].. and every foll 8th row 5 times in all.g 15 = � 12scn\ � 0 '§ CD LI: I----< 5cm punchcard machines with ribber YARN: Many A Mickle Soft Cotton 4 ply FIBRE CONTENT" 100% Cotton COLOUR: We used White (MC).5 17. Press the collar and front edge. Mytholmroyd. lars. Dec 1 st at L (R for L collar) round the outer edge.. Join the back seam of the col­ row 3 times in all. Stitch the under collar to the neck Dec 1 st at L (R for L collar) edge on next edge at back. 1 x 500g cone in MC.5cm E f. . please write to Many A Mickle._. < . CAR (K1 over the edge and saddle stitch along extra row for L collar.. Cast off rem 8 sis.Join side and sleeve rect measurements. MAIN TENSION PUNCHCARD PATTERN 28 sis and 39 rows to 1Ocm measured Punch card before starting to knit. starting garment. '-ii Pl � � - 60[62 5:65:67. Figures in square brackets [ l refer to larger sizes. With right sides together. W Yorks HX7 SPF � 12. B and C. Join shoulder seams. 29130:3031311 42 8 SIZES over st st after washing. Jade (A). Make 3 hand worked Work as given for right collar. Tension must be matched exactly before Length 71[73:75]cm.. Stitch 3 buttons to the left rows to reverse shaping. Set in sleeves buttons behind the upper and lower Block and steam press pieces to cor­ between markers. finished garment and should not be 3 buttons. RC stitch the collar and facing to the body 280. Put the back collar seams sis at beg of next and every foll alt row 5 together and stitch the collar to the neck times in all. side and 3 to the right. Slip stitch the facing to the body. MATERIALS NOTE Many A Mickle Soft Cotton 4 ply. drying and To suit bust 81-86[91-96:101Jcm. Allow the collar to rol I back approx 30cm from LEFT COLLAR AND FACING the lower edge.l or I I or I Wrap 20cm (R for L collar) on next and every foll 30th seams. used to measure work on the machine. Press the seam on next and every foll 5th row until RC flat and turn out. edge. this applies to all sizes. Measurements given are those of 100g in each of A. steam pressing (tension dial approx 8).

Set carr so lock on first row. Using nylon cord. CAR. armhole shaping correct as given tor back. by replacing shoulder sts on to machine with right sides together. work to cor­ patt and K 1 row. Set carr to selecVmemorise tor shaping as giventor back. K1 HP Ns will K and continuing armhole row. Continue to knit sts by hand and carr to HP. pick up sts from of next 8 rows. buttonholes on 6th and 18th row thus: pushing empty Ns to NWP. SHAPE NECK Always taking the yarn around the first inside N in HP. Allow to dry. pick up sis Using MC and MT-2. 43 . and set carrtor Fair Isle. When pattern complete. Push 16[20:23] Ns nearest carr to UWP and WK. TO MAKE UP BACK/FRONT surements when damp. K until RC shows 83[91:99]. the row. miss 5 sts* Repeat from* to* until a total of 3 but­ rem sts at R tor first side. K20 rows. SHAPE ARMHOLES cast on and K4 tubular rows. ending CAL. armhole band. Change colours thus: ARMHOLE BANDS Feeder 1/A Feeder 2/B Rows B A 21 c B MC 21 c 21 Join shoulder seams. after armhole shaping). Wash pieces and block to correct mea­ 48(52:56. Dec 1 st at each end of neck edge. Using MC. next 2 rows*. along the row. CAL. K1 row. Cast off 1O sts at beg of T6/6. Release punchcard respond with first side. push 5 Ns at opposite side to carr to HP on next row. from front opening as tar next and every foll alt row 5[6:5] times round as possible. when RC shows BUTIONHOLEBAND 2[10:18]. Push 156[164:172] Ns to WP. Complete shows 34[42:50] (37[41441 sts rem as given for button band. Using T10. With wrong side facing. Cast off 3[3:4] sis at beg With right side facing. Turn from armhole edge and hang evenly a hem by picking up loops of first row along the row. Push 1 N at opposite button band. Work as given tor over rem 50 sts. Using MC. Turn BACK a hem by picking up loops from first Push 134[146:158] Ns to WP. K1 row. Ns tor full needle rib. Set RC at 000 and work border patt (see COLLAR patt note). lapping buttonhole over in all. Transfer sts to MB. 82[90 96] sts. cont With RB in position set machinetor full in MC and st st throughout. K16 rows. Reset RC at 2[10:8]. Arrange 114. cast on and K a few rows ending CAL. Using nylon cord. K until RC shows and cast them off. miss 3 sts. Using MC and MT-2. Set carrtor HP and WK over cast off. K22 rows. Join side Push 2 Ns at opposite side to carr to seams. Using row worked in MC and hang evenly WY and MT. Sew on buttons to corre­ side to carr to HP on next and every foll spond with buttonholes. SHAPE FRONT OPENING Work as giventor button band. K1 row. Knit sts manually in all. Using A and MT. K1 row and cast off. Push 126 Ns on MB and Set RC at 000 and K until RC shows corresponding Ns on RB to WP. until there is suffi­ 82[90:98]. Set carrtor 29(32:34] Counting from L. Join side alt row 10 times in all. Set RC at 000 Insert punchcard and CAL. K1 row and worked in MC and hang evenly along cast off. WK BUTIONBAND Push 24 Ns to WP. *work but­ HP and push Ns at left to HP. at the same time. K until RC tonholes have been worked. 16[20:23] sts. Keeping ing up edge of neck opening evenly. Using TS. needle rib. K1 row. Graft bottom tab edge to tab HP on next and every toll alt row 3 times openings.PATIERN NOTE SHAPE SHOULDER Border pattern worked thus: WK over rem sts. Allow to dry and steam press. Cont over 18 tonhole over next 3 sts. cast on and K a few rows Continue in MC and st st throughout. Using Set RC at 000. Using WY and MT.5] seams. K1 row. cient give to pick up remaining neck­ SHAPE SHOULDERS band edge and hang on to remaining Push 66[70:73] Ns at opposite side to Ns. rem 16[20:23] sts. but only K 24 rows before FRONT turning a hem and completing by pick­ Work as given tor back to *. adding Slip centre 8 sts on to a piece of WY.

(a) Cast on as for Sample 1. (d) Rack one full position to the left on alternate rows (seven times). (v) Repeat Step (i). . and 'e' wrap each needle with two strands of Colour B. hand wrapped weaving and against various needle arrangements and simple racked ribs. (d) Knit 6 rows in Colour A and rack one full position to the right. (e) Complete the welt by knitting 6 rows in Colour A and transferring all stitches to the back bed. SAMPLE 2 An alternative racked rib with knitweave inserts. I I . (vi) Tum the knitting using waste yarn or the garter bar. for example: as a general principle cables tend to reduce some of the elasticity as does knitweave and any additional embroidery. (d) Work the eyelet pattern on the back bed by moving the left and right stitches in each group of three stitches across to the centre stitch (K3 together) and knit 6 rows. (c) Knit 6 rows. .• �I I- I LOOK Decorative finishes for �en's wear Stitch patterns for welts and collars on men's wear can be developed in a variety of ways to add detail and individuality to your designs. Pitch P Eyelet ribs. I I I I I I I I • . (a) Cast on 67 stitches for a full needle rib. • • • I I I I I I I I I I ' . followed by Colours A and D. KEY I MB RB . combined with alter­ nating colour sequences. . Knit 3 rows tubular and 4 rows rib. Knit 2 rows in Colour B. . Knitweave border: (i) Push all needles forward to 'E' position. (iv) Repeat Steps (ii) and (iii) in Colour D and Colour B. Knit 2 rows in Colour A. Compensate for these by following the instructions out­ lined in Part 1 (May issue) for decreas­ ing or increasing the number of stitches in working position on any given section of knitting. I I This is a variation on Sample swatch 5 (from last month). SAMPLE3 I I I I I I I I I I I I I I I I I I I I I I I • • • • • I I I I I I I I I I I I I I I I I I • • • . • I I • . . decorated with single bed slip stitch tubing. • I I I . It is most important to sample any of the meth­ ods suggested in combination with your main stitch pattern. In this article hand­ tooled cables and eyelet patterns are sampled alongside bands of single bed. • Pitch H A I I I I I Pitch H . and knit 3 rows tubular. The main rib pat­ tern is knitted on two alternating needle positions over 8 rows on each needle setting. =NinWP =NinNWP B . I I . (iii) Hook up the weaving thread (Colour Bl from the previous row on to the corresponding needle in the current row to form a zig-zag pattern. Pitch P A DIAGRAM 5 . . Pitch P SAMPLE4 . (b) Transfer the front bed stitches to. (a) Cast on for a 1 x 1 rib over 60 stitches. and continue in single bed patterned knitting tech­ nique. combining Colours A and C. Knit 2 rows in Colour B and rack one full position to the left. In this way you can assess the effect one stitch pattern will have against another. MB RB MB RB • • . A cross stitch is hand­ embroidered (using two strands of Panama) on each of the purl-facing rectangles. followed by 3 rows full needle rib. • . Practical considerations encountered in com­ bining a variety of techniques were also outlined. . . . SAMPLE 1 A racked rib with knitweave inser­ tion. DIAGRAM 4 • . (b) Knit 3 rows tubular at T 2/2. . The first article in this series covered manual transfer knit and purl facing rib patterns. • I I . MB RB • . I I . Knit 3 rows full needle rib at T 5/5. (ii) Plish all needles forward to 'E' position and 'e' wrap alternate nee­ dles with two strands of Colour C. . (e) Rack one full position to the right on alternate rows (four times). (g) Transfer all ribbed stitches to the back bed and work a knitweave border. as shown in Diagram 3. (c) Transfer the stitches between beds as shown in Diagram 1. and incorporates a simple 2 over 1 cable-<:ross on the back bed stitches. (b) Transfer the stitches as in Diagram4. ( c) Rack one full position to the right on alternate rows (three times). • I I I I I I I I I I . The cable-<:ross takes place after the fourth row on the centre three stitches. Repeat six times in all. Knit 2 rows in Colour B. Knit 2 rows in Colour A. The final section combines Colours A and B. (f) Repeat this sequence as many times as required. Turn the knitting and continue in single bed patterned knitting technique. MB RB • . the back bed as shown in Diagram 2. . Repeat these ten rows.


this series continues with a look at women's wear and more possible working methods to achieve that 'Designer Look'. (f) Work one row of hand-tooled eyelets and knit 2 rows. cuffs and collar with a single bed hem as shown in Samples 7 and 8.95 or telephone with credit card to: 46 I YEOMAN YARNS LTD 36 Churchill Way. and the hook-up method as described in Sample1. the knitweave borders at main tension 8. Repeat Steps (d) and (e) six times in all. We also have an exclusive men's wear sweater from Ruth which illustrates many of her exciting techniques. Having worked your way through some of the examples given. SAMPLE 5 A cabled rib on a full pitch setting. Next month.(e) Transfer all the rib-bed stitches to the main bed and knit 2 rows. Leics LES OUD Telephone:(0533) 404464 Fax: (0533) 402522 'In USA . The knitweave patterns are a com­ bination of 'e' wraps. and to knit in the opposite direction). (c) Transfer stitches between the back and front beds as in Diagram 5B. It is important to bear in mind that knitweave is particularly lacking in elasticity. (d) Knit 4 rows. A small amount of hand­ embroidery is used to embellish the knitweave pattern in Sample 7. Whatever you decide to do. For exam­ ple. consider rearranging a cable sequence or simply working a sim­ ilar rib pattern but on an alternate needle setting. a chain cast­ on using the crochet hook. study your garment patterns and decide whether you want to add an indi­ vidual touch to a design. NEW SPRING/SUMMER SHADES NOW IN STOCK All available extensively throughout the UK at your local stockist or write for our mail order catalogue price £2. (a) Cast on for a1x1rib (full pitch) as in Diagram 5A. Fleckney. The hems are knitted at main tension 6. and should be used in welts on fairly loose-fitting styles. (b) Knit 3 rows circular and 6 rows rib at T 5/ l-800 Yam-Ups· I . always knit a sample swatch com­ bining any new stitch patterns and construction details before knitting the final piece. You may also decide to restyle a garment by replacing the ribbed welts. SAMPLE 6 An alternative cabled rib on a full­ pitch setting with the same needle arrangement as shown in Diagram 3A SAMPLES 7 AND 8 These are worked on the single bed only. Make a 2 over 2 cable-cross on every alternate group of 4 stitches on the back bed. and incorporate hand-wrapped knitweave borders with a traditional single bed hem. (h) Knit a long length of slip-tubing over 4 stitches at T6 to decorate the eyelet rib (the machine is set to slip in one direction. (g) Continue with pattern as in pre­ vious examples. . (e) Knit 6 rows.

...•.........95 PRICES: NO NAVY TOTAL Please send to: BSK Ltd......•... SCARlfT HYACINTH SAND lfMON SAXE DUSTY TURQUO�E WHITE CLOVER P'NK PRICE PER CONE POSTAGE AND PACKING 5+ CONES £3. 4......••. Postcode Tel No ....... 7..•... ......•••••• If you do not wish to cut your magazine. 13...60 £1.. 6..................... Payment by BSK Account Card or Credit Card 0 ACCESS 0 VISA Card No.. 20......... 18. Manton Industrial Estate. Signalure . 3.•..•.... BIACK 8...... please send your order on a separate sheet of paper.....•.......•........•.To BSK lTD....... MURDOCK ROAD.••........... 1VORY 2....••••.... Murdock Road..... Af'RK:OT SILVER JADE 5........•.. 21..... 17..•.. 15...... Address.••....•... ........... MKT 6/93 printing will allPw ..•.. DAl.. PEACH P'NK 10...•..•••....•.....••••.......99 FREE 1TO4 CONES £4....... 16..••.........••.........•.•..... 19..\ION FlDiSLA. PAlf UIAC 11. Bedford MK41 7LE or Ring Os on (0234) 217096 Cheque/PO payable to BSK Ltd...•••• !"xpiry Date ...... 9....•.....•.... DDDDDDDDDDD 1...........•..•..•.. LEAF GREEN DDDDDDDDDD 12.••••••.•..••... BEDFORD MK417LE Please send me ..•... MANTON INDUSTRIAL ESTATE...•••••••••••••••......... 14...••...........••....... cones of 'Maypole' 4 ply cotton yarn (indicate number of cones of each colour in the relevant boxes)....... Name..•.•.....••.

Push 146[170] Ns on MB and cor­ responding Ns on RB to WP. ABBREVIATIONS See page 54. MAIN TENSION 28 sis and 47 rows to 10cm measured over st st.5[48. drying and steaming (tension dial approx 7). 50g in each of A and B. where there is only one set of figures. 600g in MC. Measurements given are those of finished garment and should not be used to measure work on the machine. PATTERN NOTE Border pat! worked thus: RCOOO. Finished measurement 103[120]cm. PUNCHCARDJMYLARSHEET PATTERN Punch card or mark mylar sheet before starting to knit. Insert punchcard and lock/pro­ gram pat! on first row. Figures in square brackets [ ] refer to the larger size. Tension must be matched exactly before starting garment. MATERIALS Brockwell 4 ply Boucle Cotton. Arrange . K27 rows. K12 rows. Release punchcard and set carr for Fair Isle. NOTE Knit side is used as right side. Brockwell 4 ply Soft Cotton. K1 row. Set carr to select/ memorise for pat! and K1 row. Using MC in feeder 1/A throughout. Using B. Using MC and MT. Length 63[64]cm. K12 rows. Using A. continue in MC throughout. Sleeve seam 47.5]cm.SIZES To suit bust 81-86(91-96] cm. BACK With RB in position set machine for 1x1 rib. after washing. RC shows 53. change colours in feeder 2/B thus: Using A. this applies to both sizes.

yarn around the first inside N in HP. K until RC shows 129[133] With RB in position set machine for 1x1 SHAPE SHOULDER rib. Push 140 Ns on MB and corre­ sponding Ns on RB to WP. K1 row. Work Wash garment and block to correct measurements. 1 N at opposite side to carr to HP on next and every foll alt row 10 times in CU FFS all. pick up armhole edge evenly Set carr for HP and push 14 Ns at centre between markers and hang on to Ns. Soft Cotton Shade 520 Peacock (A) and Shade 559 Cobalt (8) STOCKISTS: To obtain this yam. K6 rows. Work border patt (see patt note). Allow to dry and steam thoroughly. Dec 1 st at each end of next and every foll 8th row 19[18] times in all... YARN· Brockwe/14 ply Boucle Cotton and 4 ply Soft Cotton FIBRE CONTENT' 100% Cotton COLOUR: We used Boucle Cotton in White (MC}. dee 34[36] sis evenly along the row. Join neckband seam. Set RC at 000. With wrong SHAPE NECK side facing. K1 row. pick up sts from Stansfield Mill. Push 150[156] Ns to WP. Push 100[104] sis. K1 row. Push 66(68] Ns Ns on MB and cor­ Push 8[1 OJ Ns at opposite side to carr to HP on next row. next row. Arrange Ns for 1 x1 rib. Set RC at 000. 21 = 235{24] l "' <D . Using those in WP to UWP and WK. Push 2 Ns at oppo­ site side to carr to HP on next and every foll alt row 3 times in all. With wrong side facing. please write to Brockwell Yams. Sowerby Bridge. back and front neck and hang evenly W Yorks HX6 3LZ along the row.. K unti I RC shows 118. K2 Set RC at 000. Join second shoulder and work to correspond with first. K1 row. Allow to dry. Join side and sleeve seams. Using T10. K until RC shows 128[132]. cast on and K3 tubular rows. K10 rows. FRONT SLEEVES Worked downwards Work as given for back until RC shows 94[98] (after armhole markers have been placed). Trans­ fer sis to MB**. NECKBAND Join one shoulder seam by replacing coresponding back and front shoulder MACHINES: T hese instructions are written for standard gauge sts on to same Ns. Triangle. Work as given for back to*. push rem Ns to UWP. punchcard or electronic machines with ribber Using MT. and all Ns to L to HP. CAL Push Ns nearest carr to UWP and WK. K1 row. Using MC*. Using MC and MT. K1 row and cast off. Leaving 7th N to L of centre 'O' and all Ns to R TO MAKEUP of it in HP. � SLEEVE BACK/FRONT "' � er= � � �� - � Ci 0 "' . Work as given for back to **. Set carr so HP Ns will K and WK. Push 7[9] Ns at opposite side to carr to HP on next 1 O rows. CAR. K 28 rows. K until RC shows 194[198] and WK. Using A. Transfer sts to MB. With wrong side Ns at opposite side to carr to HP on next and every foll alt row 4 times in facing. Stansfield Mill Lane. Push 3 Ns at opposite side to carr to HP on every foll 6th row 6[8] times in all. T10. push 8[1OJ Ns at opposite side to carr to HP on next 2 rows. Place a marker at each edge. With RB in position set machine for 1x1 rib. SHAPE SHOULDERS Set carr for HP and always taking the yarn around the first inside N in HP. Push 7[9] responding Ns on RB to WP. K1 row and cast off. CAL Reset RC at 129[133]. Push 36[46] Ns nearest bottom sleeve and hang on to Ns. Dec 1 st ff at each end of next and rows. Always taking the setting shoulder seam at centre 'O'. Using B and T3/3. Push 4 Ns at opposite side to carr to HP on next row. 54{56] 52{611 49 . WK over rem 60 sts.Ns for 1x1 rib. K 2 rows. Lady's Fair Isle Border Sweater Set carr so HP Ns will K and WK over rem 60 sts. K1 row and cast off. CAR. right sides together. pick up sts from below WY at all.. K7 rows. L side to correspond with R. Cont in st st and MC through­ out.

It is available from Desig­ naKnit dealers at£5. Made in white card. The G-Cmriage Collection is a more fashion conscious selection for the garter carriage. It is. planning. Byte or a Stitch. waistbands and yokes. Not a Book. The book costs £5. The instruc­ tions are very precise. Both books are available by mail order from the Knitting Neuk whose new address is The Knitting Neuk. ribs.50 (inc p&p). there is a complete chap­ ter of experiments to try to overcome such fears. listing equipment.95. the impor­ tance and process of blocking and steaming garments using a flat pin­ ning method. With one or two of these in the Club library your club displays may never be the same! It won't break the bank either. but made of paper (well. Another useful reference guide for beginners and experienced knitters alike. PO Box 5. with a lot of assistance in respect of techniques for matching necklines.1w The DesignaKnit User's Guide by Diane Bennett is a useful guide to using this computer program. .lMHii:M•I:tw cuffs. There is even a suggested garment to make use of your old ten­ sion swatches! A great reference book for any knitter who owns a sewing Val Slater NEW BOOKS FROM IN·EX If you have ever sat down with sev­ eral sheets of paper and a calculator trying to work out the reduction of the top of a skirt into the waistband stitches. As my American friends might say "It's really neat!" ' book from Pam Turbett will take you a stage further. It explains in a simple and straightforward manner. It weighs next to nothing. selecting pat­ terns. just as the title says. SEW YOUR KNITWEAR If Irene Krieger's recent articles have encouraged you to get out the sewing machine and try it with knits. Hants GU33 7AU.50 plus 75p post and packing. is easily assembled and packs into a 15 x 17 inch bag for storage and car­ rying.111@r:1:rn1u111. It com­ mences with an overview of what the program actually does and pro­ gresses quite logically into garment shaping and stitch patterns. All the details have been carefully considered and techniques like seaming.the In-Ex Way seems a very appro­ priate title from this enterprising company. Suitable for punchcard or electronic machines. or the gathering of a baby garment on to a yoke. Berks SL4 2TP. The designs are given in finished inch sizes (from 34 to 50 inches). An excellent pattern book to help you make more of your garter carriage. the tops and skirts co-ordinate beautifully to form smart suits.The Revised Knit. or direct from Diane Bennett. M&:l. It is ideal for anyone needing to display garments for sale or just for show.l. which e1141. there is an extremely useful section on making and measuring the skirt tension swatches as well as methods to calculate the number of panels and pleats you require to work up to any size you want! The mix of pleating and patterning on the skirts is particularly attractive and unusual. Nailsea. available directly from In-Ex. 17 Forest Rise. board anywayJ. or with the help of one of In-Ex's steaming bag kits. shaping. which includes three skirt and four sweater patterns. neckband styles and treatments are explained with the aid of clear dia­ grams and sketches. PO Box 1459. finish­ ing and size adjusting. Fisher Ganseys of the British Isles is excellent for beginners or for knitters who like a traditional look.95 (inclusive of p&p) and is available direct from In­ Ex Systems Ltd. Ross-shire IV11 8XZ. As you can see in the pho­ tographs opposite.50 (inclusive of p&p) direct from In-Ex at the above address. a book of tables for the even distrib­ ution of stitches when decreasing on they call 'Dollie'. Liss Forest. it costs £2. another of In-Ex's products caught my eye at an exhibition lately. knitting and preparing the fabric for sewing with some extremely useful sections about the sewing machine and overlocker in relation to knits. Wind­ sor. so every stage is shown as clearly as possible. but can also be ordered direct from Pam Turbett. 9 Huntley Grove. binding. If you have read any of Pam's earlier books (which are now out of print).ii3. Liss. Price £8. linking and knitting from the screen. It is their foldaway mannequin. It should be available in your local book or knitting shop. It takes you right from the beginning. Steaming Sweaters and Cardigans . you will appre­ ciate some of the updated techniques and materials and the use of addi­ tional diagrams. Bristol BS19 2UQ at £6. a new Joyce Schneider has two books cur­ rently available for the garter carriage. Cut and Sew (Book 1) is a comprehen­ sive guide to sewing complete gar­ ments from knitted fabrics. starting with 'Seeds and Bars' and including 'Cables and Ladders' and 'Anchors and Nets'. you could find the In-Ex Stitch Reduction Tables book saves you a few hours of cal­ culations. There are five easy patterns. Cromarty. it is designed to sit on a table and has articulated shoulder and elbow joints so that poses can be changed as desired.20 (inclusive of p&p).lff:l. interfacing. For knit­ ters of a nervous disposition (when it comes to cutting their beautiful knitting).11. at£17. vari­ ous Jacquard separation methods and knitting requirements and ends with handy tips on organising data and using other graphics packages and scanners.

from cas­ tles to trees and fruits. necklines and collars. many of the finished samples will make you itch to get on to the machine to provide just the right set­ ting for the three-dimensional dec­ oration to follow.111111�11f:!lnAA&n. 021-561 5270 YARDLEY 021-708 2809. 021-708 2380 NOTTINGHAM 0602 476600 · in respect of colour. G-Ood news for machine knit­ ters is that many of the stitch designs are charted.from people to needlelace birds. Tel: 021-708 2809/2380 Fax: 021-708 2380 9 Halesowen Street. There are some fascinating techniques on colour work and advice on dyeing your own yarn. West Midlands 865 OHG. pattern and tex­ ture. TO ALLSEW KNIT AT WARLEY 021-559 3272.a practical Guide to Decorative Stumpwork. basic techniques are clearly illustrated and explained. there are ideas and techniques to delight everyone.from hats to gar­ ments. Tel: 021-559 3272. Warley. Some designs would be appropriate if worked directly on to your knitwear (with a backing perhaps). Yardley. fastenings and trims. Tel: 0602 476600 Postal service on accessories. Rowley Regis. tP trr C:i �lflO� DESIGN YOUR OWN WITH CREATION 6 ALLSEW KNIT GIVES A COMPLETE SERVICE •Personal Free Delivery •3 Day Turrion at PFAFF National Knttters School •Free Video •5 Year Guarantee on Parts TELEPHONE FOR ADVICE. 51 . 021-561 5270 15A Houndsgate. so can be easily adapted to use on the machine. gored skirts and interesting sleeves.Mi''�l!1!#!fJ Checking the needlework book offer­ ings can lead to some interesting ideas when it comes to decorating knitwear.99.>­ c a: � . If you occasionally hand knit as well as machine knit. Much more than a pattern book. INFORMATION OR QUOTATION. Birmingham 826 1AD. With unusual but highly practical ideas for use on knitwear Raised Embroidery.99. VERSATILITY ITSELF MACHINE KNIT INSPIRATIONS FROM HANDKNITS The Handknitters Design Book by Alison Ellen contains many ideas which are highly relevant to machine knitting. With the advantage we have of doing so much with our background fabric lished by Merehurst it is priced at £14. Nottingham NG1 7AA. Whether you are a beginner or expe­ rienced sewer. The Handknit­ ters Design Book is published by David & Charles and costs £14. whllst others may be best worked on to fabric and then used as an applique on the garment. Pub- placement on the garment. Full of wonderful ideas. The chap­ ter on 'Pattern' is quite inspirational. by Barbara and Roy Hirst shows deco­ rative techniques with character. The designs cover diverse topics and techniques . with ideas for combining patterns and their dramatic and interesting the ��@©uIT®OOD© ®®®® from PFAFF • ENLARGE 100 TIMES e FOUR COLOUR e 232A3V3A • 00!0080� e WIDEN ��S�o. then there are many interesting techniques for hand knitting as well as fully illus­ trated projects . 'Shapes and Details' has lots of 'copyable' ideas for welts and fancy peplums. ALLSEW K•N•l•T• 1558 Coventry Road.

SINGLE KOALA BEAR I knitted the koala bear between stitches 12 left and right of centre 'O'. GLOWING EDGES As you can see on Swatch 1. This border also serves the purpose of introducing a sense of movement. loved the swatch I made so much she asked if it was for sale! We can ring the changes when presenting designs. TWO KOALA BEARS There is no border for Swatch 2. from about row 58. it is better to treat it in a more sketchy style than on Swatch 1. one short and one long. but make sure they are not in a boring straight line and that the leaves themselves fall in different directions.DIAGRAM 1 Branch l Arm- 0 Swiss darned stitch I am sure most of you own or have seen those small koala bear brooches or ornaments which can cling to almost anything with strong claws. The branches and trunk are a combination of run­ ning and back stitches. Koala bears look so cuddly as they sit on the branches of eucalyptus trees and feed on the leaves. placed punchcard 2 with the extended . Embroidery immediately enhances and adds tex­ ture to the flat picture. the red ribs with stripes will have to be used throughout and the border repeated on the sleeves. When I was playing about with this design. an adult friend of mine who has been to Australia on a long visit. making sure to keep the stitches loose to prevent the knitted fabric from bunching up. as there is so much tree. Mint is the back­ ground colour. they are embroi­ dered all round to soften the harsh line of the trunk. Sometimes even a few swatches with different motifs will do.and a red repeat pattern mimics the thin. which is brighter than the previous blue. Part of the hand that emerges from behind the branch to grasp it is Swiss darned in fawn (see Diagram 1). The knitted koalas this month will therefore appeal to all ages. No need for dif­ ferent coloured ribs here. if you can show people one of your ready-made sweaters for style and finish. pointed shape of the euca­ lyptus leaves. I have used a blue background and a fawn koala. Brown satin stitch was used for the eyes. back stitch to mark the edges of the neck. Outline the branches and trunk first as guide­ lines. TREE TREATMENT Similarly. but it it a good idea to bring in brown stripes to link them up with the branches of the tree and to distract the eye from too much brown in the middle. For a finished sweater. The green leaves are two straight stitches close together. snout and inner ear of the bear. then fill in. instead two koala bears keep each other company. only about two feet when fully grown. makes them all the more endearing. The leaves can be embroi­ dered even further than on the swatch. Here. of course. but felt the need to burst into colour with red ribs and blue stripes . MOTIF PLACEMENT I started the first koala on row 40. arm and legs and for the claws. as with a pencil. The motif is 33 rows long. Their size.

refer back to the Penguins sweater (PMK January 1993) or the Dinosaurs sweater (PMK February 1993). � Celaijdiqe We supply direct to you by Mail Order and promise a 24 hour despatch.... � II'!' �� We have metallic threads to add a little extra sparkle to evening wear. Kamalini's tapes are professionally produced with lots of close ups for easy viewing and live sound for pleasant listening.. . W.. and the cams between stitches 12 and 36 right of centre 'O'. Lanes BBS STU. Aldenham. Special Mint. 420 Brown. try a new knitting machine or accessory.11111 Looking to create beautiful clothes? � . � � � �� � � .'��� YO u ��� mm to the right. arm FINISHING TOUCHES For an idea of sizing and other instruc­ tions. Titles now available: 1.. Mink. � 'f. then shift the whole sweater to the left or right.'-"'-'-. Camel and Suri Alpaca. The punchcard was placed with the bear' s extended to the left.wool yam....- .. If you want your tree and bears to be in the centre of the sweater. returning to them later.� '- Wo offoc a rnngo of Fuc/U.'c. the i r address is F.. to teach the skills and techniques required to design and make patterns. so that the centre of the sweater is not on 'O'... START KNITTING ON THE KNITMASTER 3. Access & Visa accepted KAMALINl'S COMPREHENSIVE TUITION PROGRAMME THE BEST LEARNING EXPERIENCE FOR ALL MACHINE KNITTERS POSTAL PATTERN DESIGN COURSE: Offered in 13 monthly lessons.. you need it. KNIT STEAM AND CUT 7. SEND FOR THE-- . .. Racoon.. � :.�r1 �':. Metcalf Drive. Also blends including Silk. Accrington. list of patterns and brochure send (refundable) to: �� l .. 32S Red. I followed my own advice here and placed the two swatches on the back of a chair. Course fee of £110 is payable in 4 instalments or a discount advance payment of £100 for full 13 months.. £1. BE YOUR OWN DESIGNER. 416 Fawn. I started the second koala on row 74. If you have difficulty finding a sto ckist.50 � For full details. You will remember that in the introductory article that accompanied the Penguins sweater there were some general guidelines on using these motifs effectively.mb. .... START KNITTING ON THE BROTHER 2.. NEW: INDIVIDUAL PLANNED DAY: Spend a day knitting with us. and the cams between stitches 12 left and right of centre 'O'.... WEST YORKS LS21 3HJ Telephone: (0943) 466640 �� '­ � . START KNITTING ON THE TOYOTA for all Brother machines for all Studio/Singer machines for all Toyota machine 4. Cotton and Acrylic. A CREATIVE APPROACH 9. . Learn new techniques. GARTER BAR AND WASTE KNITTING 6.... in Fox. High Cross. This helped me decide what to add in the way of last minute touches. Altham Lane. Unit S.���""��""�"'· �r . . where you want it and as often as . 4SS Green... Chinchilla. UNDERSTANDING THE RIBBER 8. All tapes have supporting booklet with garment patterns. . . YARNS I used Bramwell's Fine 4 ply Acrylics in the following colours: 316 Blue. INSTRUCTIONAL VIDEO TAPES: Video tapes provide expert instructions when you want it. Bramwell &' Co Ltd.-­ PROSPECTUS AND REGISTRATION FORM TODAY. HOLDING POSITION & PARTIAL KNITTING for all Japanese machines 5. A fine Italian Super Kid Mohair in 14 shades. .��. Registrations for the spring term are open now... Watford.. FUN WITH COLOURS for all Japanese machines for all machines for all Brother ribbers for all Brother ribbers for all Brother ribbers Further information from: MACHINE KNITTING & DESIGN CENTRE High Cross House.� - CELANDINE LIMITED (PMK) Cel Qdi.. OTLEY. You knit at least 12 garments and you have an option for a certificate at the end. Herts WD2 8BN Tel: 0923 859242 (24 hour answer service) ACCESS VISA 53 .Qe 9fJll 44 KIRKGATE.. .

is the newest CML title by Teresa Schiff, 10 FULL
COLOUR GARTER CARRIAGE designs for all season chic


Elementals- colour and black/white ii I ustrations

of element inspired high fashion garments for
standard gauge machines


Earthsong- Garments on natural themes for

this catwalk collection designed using natural
yarns for chunky machines


Small World- Tops for the Tots, international
fashion for 2-6 year olds. Real wash 'n wear
showstoppers (standard gauge)


Look - No hands - Garter carriage classics

for the family


Ebony & Ivory- Family fashion on a black/white

theme for chunky machines


Fine Print- Black and white fashion winners for

the family, standard gauge machines

130 stitch patterns traditional and


modern for the garter carriage



Charted Art and Stitch Pattern Folios
Eastern Promise- Oriental Arts and Crafts translated

into stitch patterns


Primotif-Wortdwide tribal art and craft inspirations


Victorians- Victorian silhouettes with 'festive' section




American colonial art and crafts inspirations



Order on

0206 549026
or write to
CML, 244 Shrub End Road, Colchester C03 4SA


altog = altogether
BB= back bed
CAL=carriage at left
CAR=carriage at right
cont= continue

NWP=non working position
patt =pattern
' pas=position
RB= ribber
RC=row counter
RHS right hand side

DK=double knitting
FB =front bed
Ff=fully fashioned

RT=rib tension
rem= remaining
SS= stitch size
st(s) =stitch( es)
st st=stocking stitch
T =tension
tog= together

HP= holding position

UWP=upper working position

K= knit

WK= using WY, K a few rows

L= left
LHS=left hand side

WP= working position
WY =waste yarn
[ ]=figures in square brackets

MB=main bed
MT=main tension

and release from machine

refer to larger sizes

P ush the number of main bed Ns as given in the patt to WP. Return alt Ns lo NWP for 1x1 mock
rib. Return every 3rd N to NWP for 2x1 mock rib. Using WY, cast on and Ka few rows, ending
carriage at left. Using T10 and nylon cord, K1 row. Set RC at 000. Using MC and MT-3. K the
number of rows given in patt (i.e. depth of rib). Using MT, K1 row (fold row) Using MT-3, K the
same number of rows for depth ol rib again.
Return intermediate NWP Ns to WP. Pick up loops from first row worked in MC and hang on to
empty Ns (plus adjacent N for 2x1 rib) evenly along row. Complete as given in patt. When work is
completed, pull nylon cord from one end ol work, thus releasing waste knitting.


Lady's Nautical Motif

To suit bust 81[86:91:96:101 ]cm.
Finished measurement 92[98:104:
Length 60[61:61:62:63]cm.
Sleeve seam 44[44:44:46:46Jcm.

Illustrated on page 57

Figures in square brackets [ ] refer to
larger sizes; where there is only one set
of figures, this applies to all sizes.

MACHINES: T hese instructions are written for standard gauge
punchcard machines with ribber


YARN· Brockwell Mercerised Cotton and Gold Lurex

Brockwell Mercerised Cotton.
1 x 400[400:4S0:4SO:SOO]g cone in
Gold Lurex (4 ply).
Approx 2Sg.

L to HP. Cont on rem 66[71 :76:80:8S]
sis at R for first side. K1 row. Push 1
N at neck edge to HP on next 17 rows.
K until RC shows 242[246 246:

WK over rem 49[S4:S9:63:68] sis. CAR.
Push 17 Ns nearest carr to UWP and
CAL. Reset RC at 206[210:210:
214:220]. Push Ns to UWP and work

FIBRE CONTENT' Mercerised Cotton is 100% Cotton

to correspond with first side.

COLOIJR: We used Shade 638 Navy (MC) and Gold Lurex (CJ
STOCKISTS: To obtain this yarn, please write to Brockwell Yarns,
Stansfield Mill, Stansfield Mill Lane, Triangle, So'werby Bridge,
W Yorks HX6 3LZ

Push 49[S4:S9:63:68] Ns to WP. With
right sides facing, pick up sis from
below WY on corresponding back and


front shoulder and ·hang evenly on to

34 sis and 44 rows to 1 Ocm measured
over st st after washing, drying and

Ns. Using MC and T10, K1 row and
cast off.


steam pressing (tension i ap�rox 6).
Tension must be matched exactfybefore


starting garment.

With RB in position set machine for 1x1


rib. Push 13S[13S:13S:143:143l Ns on
MB and corresponding Ns on RB to

See page S4.

WP. Cast on and work as given for ribs


transferring sis to MB. Using TS, K1

(see pall note) butonly K 8 rows before

Knit side is used as right side.
Measurements given are those of

row. With wrong side facing, pick up
sis from neckline and hang evenly along


finished garment and should not be
used to measure work on the machine.

the row. Using TS, K1 row. Cast off
Join second shoulder to correspond


with first.

Using 'wheel' card from Fine Gauge
Lady's Top (page S6), punch cards
before starting to knit.

With RB in position set machine for 1x1
rib. Push 92[92:96:96:98] Ns on MB
and corresponding Ns on RB to WP.

Ribs worked as follows:
With RB in position set machine for
1 x1 rib. Push Ns as directed on MB
and corresponding Ns on RB to WP.
Arrange Ns for 1 x1 rib. CAR. Using
WY, cast on and K3 tubular rows. Using
T3/3, K a few rows ending CAR. Using
nylon cord, K1 row. Detach RB carr
from main carr and run across sis and
back to release RB sis. Using C, K zig­


punchcard and lock on first row. Set

With RB in position set machine for 1x1
rib. Push 1S6[166:176:188:198] Ns on
MB and corresponding Ns on RB to

carr to selecVmemorise for single motif
over Ns 36-17 at L of centre 'O' and K1

WP. Work as given in pall note.
Set RC at 000. Using MC and MT, K

for Fair Isle. Using MC in feeder 1/A

until RC shows 242[246:246:2S0:2S6].
Place a marker at each end of centre

of anchor motif. Continue in MC and
st st throughout. K until RC shows

S8[S8:S8:62:62] sis and WK.

206[210:210: 214:220].

row. Release punchcard and set carr
and C in feeder 2/B, complete 1 repeat

Cast on and K rib as given in pall note.
Set RC at 000. Using MC and MT,
K3[3:3:2:2] rows. Inc 1 st at each end
of next and every foll 4th[4th:4th:3rd:3rd]
row 32[37:40:46:SO] times in all, at the

same time, when RC shows 143[143:
143:1S1:1S1], insert wheel punchcard
and lock on first row. Set carr to
selecVmemorise for pall over centre 24


Ns and K1 row. Release punchcard and

Work as given for back until RC shows

Using a separate piece of MC, cast off
24[24:24:28:28] sis at centre. Set carr

using MC in feeder 1/A and C in feeder
2/B, work 1 complete motif. Continue

13S[139:139:143 149]. Insert anchor

to HP and push 66[71:76:80 8S] Ns at




in MC and st st throughout. When inc
complete 1S6[166:176:188:198] sis.
K until RC shows 172(172:172:



180:180]. Cast off.







zag row and 3 tubular rows. Using MC


Wash pieces, when damp block pieces
to correct measurements. Allow to dry
and steam press. Allow to dry Darn in

and T1/1, K30 rows. Transfer sis to MB.

ends from single motifs. Join side and

Note: Do not remove nylon cord and
WY until work blocked and pressed, as

Using C, work chain (crochet or use

leaving it in situ will improve the set of
the welts.

sleeve seams. Join neckband seam.
27127 28 28 291
46149 52:55:58)

needle) and decorate anchor motif as
shown. Stitch into position.

To suit bust 81[86:91:96:101Jcm.
Finished measurement 90[96:102:
Length 55[55.5:58:58.5:61]cm.
Sleeve seam 10[10:11:11:12Jcm.
Figures in square brackets [ J refer to
larger sizes; where there is only one set
of figures, this applies to all sizes.

Brockwell 2 x 2/16s Mercerised Cotton.
1 x 250[275: 275:300:350]g cone in
Fine Gold Lurex.
Approx 25g.

Fine Gauge Lady's Top
wit� Motifs
Illustrated on page 58

MACHINES: These instructions are written for fine gauge punchcard

machines. We used a Silver 310
YARN· Brockwell 2 x 2/16s Mercerised Cotton and Fine Gold Lurex
FIBRE CONTENT' 2 x 2/16s Mercerised Cotton is 100% Cotton
COLOUR: We used Emerald Green Shade 658 (MC) and Gold Lurex (CJ
STOCKISTS: To obtain this yarn, please write to Brockwell Yarns,

Stansfield Mill, Stansfield Mill Lane, Triangle, Sowerby Bridge,
W Yorks HX6 3LZ

motif once. Continue in MC and st st
throughout. When armhole shaping
complete 146(160:172:186:198] sts.
K until RC shows 82[84:86:90:92].

Remove MC. Push all but 32[32:
36:36:40] Ns at centre to HP and set
carr for HP. WK over centre sts. CAR.
Rejoin MC and reset RC at 82[84:
86:90:92]. Push 57[64:68:75:79] Ns
nearest carr to UWP. K1 row. Push 1N
at neck edge to HP on next 17 rows.
40[47:51 :58:62] sis. K until RC shows
114[116:118:122:124].WK. CAR. Push
17 Ns nearest carr to UWP and WK.
CAL. Reset RC at 82[84:86:90:92]. Push
remNs to UWP and work to correspond


with first side.

44 sts and 54 rows to 1 Ocm measured
over st st after washing, drying and


steam pressing (tension dial approx 4).

Push 40[47:51 :58:62] Ns to WP. With

Tension must be matched exactly before

right sides facing, pick up sts from below
WY on corresponding back and front

starting garment.

shoulders and hang evenly on to Ns.


Using MC and MT, K1 row and cast off.

See page 54.



Push 152[152:158:158:168]Ns to WP.

Knit side is used as right side.
Measurements given are those of
finished garment and should not be
used to measure work on the machine.

With right side facing, pick up sis from
neckline and hang evenly along the row.
Using MC and MT-1, K1 O rows. Using
MT+1, K1 row. Using MT-1, K12 rows
and WK.


Join second shoulder seam as given

Punch card before starting to knit.

for first.

Push 150[154:158:162:166]Ns to WP.
Work as given for back to **.


Set RC at 000. Using MC and MT, K
until RC shows 9.Insert punchcard and
lock on first row. Set carr to selecVmem-

Push 66[66:70:70:74]Ns at centre and

Work as given for back to *. Keeping
armhole shaping correct as given for
back, insert punchcard and lock on first

all Ns to L to HP. Set carr for HP and

row. Set carr to select/memorise for

the row. Release punchcard and set carr


WK over rem sis.
CAR. Push 66[66:70:70:74] Ns near­

patt overNs 45-15 atLof centre'O'and
K the row. Release punchcard and set

for Fair Isle. Using MC in feeder 1/A
and C in feeder 2/B, work single motif

Push 198[212:224 :238:250]Ns to WP.

est carr to UWP and WK.

carr for Fair Isle. Using MC in feeder

once. Continue in MC and stst through-

Set carr so HP Ns will Kand WKover rem sts.

1/A and C in feeder 2/B, work single

out. K until RC shows 44[44:48:48:54].

146(160:172:186:198] sis. K until RC
shows 114(116:118:122:124].


Using WY and MT. cast on and K a few
rows ending CAR. Using MC and MT1, K10 rows. Using MT+ 1, K1 row.



"' 1





2 rows. Cast off 4 sis at beg of next 2
rows. Cast off 3 sis at beg of next 2


all. Cast off 5 sts at beg of next 6 rows.
Cast off rem 18[22:26:30:34] sts.


next 2 rows. Cast off 5 sts at beg of next

every foll alt row 6 times in all.

next and every foll alt row 45 times in
4(5 6781


33[36:40:43:46 1

Set RC at 000*. Cast off 6 sts at beg of

rows. Cast off 2 sis at beg of next 2
rows. Dec 1 st at each end of next and

next 2 rows. Dec 1 st at each end of


Using MT, K1 row. CAR**.
Set RC at 000. Using MT, K until RC
shows 172[172:184:184:194].

Set RC at 000. Cast off 6 sts at beg of

Using MT-1, K10 rows. Turn a hem by
picking up loops of first row worked in
MC and hang evenly along the row.

arise for pall over centre 30 sis and K

45(4851 54:57)



Wash and when damp dry, block pieces
to correct measurements. Allow to dry
and steam press. Allow to dry. Set in


sleeves. Join side and sleeve seams.
Join neckband seam.Turn band in half
to right side and finish by backstitch­
ing through last row worked in MC.
Finish off motif ends.



1 Ribber Basics Breaking all the Rules by Joyce Schneider 59 . place slight pressure on the cast on comb with your free hand while knit­ ting the set vedge.11m'�1sil[Im�11•PIB. Take your transfer ·tool and pick up this loop.see Sample 1.l'VE TRIED THE METHOD FOR KNITTING THE SELVEDGE GIVEN IN THE MANUAL AND l'M LESS THAN PLEASED WITH IT Is there any other method that looks better? There are several methods that yield excellent results. What follows is my favourite. Instead. When the garment is complete and off the machine. ll$Mi:l. Knit one row (main bed needles will knit. Knit one row (main bed needles will slip. ii. When blocking the garment run a blocking wire into the channel where the yarn was removed and steam the rib from about 10 to 12 inches above to set the rib stitches . Be careful that the fabric is not touched or moved while it is hot and wet as this will remove the elastic­ ity from the rib. find the tail ·end of the yarn at the cast-on edge. Now pull the yarn all the way out. do not hang weights on the cast on comb while knitting the selvedge of the ribbing. Hang the cast on comb. Before pulling the yarn out all the way grasp the two ends of the yarn and pull down to 'pop' the stitches of the selvedge edge into shape. ribber bed needles will knit). Set both car­ riages for plain knitting and knit one row (the needles on both beds will knit). Arrange needles as for lxl rib (If you are using a tex­ tured yarn knit the zig-zag row only with a nylon ravel cord). Bring alt the needles on the ribber bed to hold position and set the ribber carriage for partial knitting (side levers down). The cast on and selvedge are now complete. To keep the edge of the rib firmer. ribber bed needles will gather a loop around the shank of the needle). Go to the other side of the cast-on edge of the rib and find the loop that hangs out to the side. It should be allowed to cool and dry in place on the block­ ing board.'l1. The steam source should be held 8 to 10 inches above the rib­ bing. Gently pull on this loop and gather up the edge of the rib on the yarn you are pulling out. Set the tension on both carriages to the tension appro­ priate for ribbing the yarn you have selected and continue the garment. Set ribber carriage for plain knitting and set the main carriage to slip from right to left.\�0M'1fi!1:1WI Can ribbing and ribbed fabrics be blocked? Is there anything special I should know about the blocking of such fabrics? Ribbing can be blocked lightly by leaving the wire in place and steam­ ing gently.

English rib. Drop the ribber to its inter­ mediate position (do not lower all 60 the way down . and when the fabric is allowed to relax the knit stitches will cover the purl stitches again. The best way to add thread or lycra to your ribbing is by double bed plat­ ing. The next article will deal with ribber fabrics . Fisherman's rib.see Sample 2. Called Elas­ tomeric 2698 it is available to match a wide range of colours. Plating virtually eliminates changes in colour and also prevents the thread or lycra from looping on the fibres of the main yarn. embossing and cables. I usually use sewing thread for this purpose . all the ribber stitches will drop off the nee­ dles). Brother provides a double bed plating feeder with their ribber and other compa­ nies may also. This elas­ ticity is the result of the knit stitches sliding over and covering the purl stitches when the rib is at rest. I HAVE LOOKED THROUGH MY MANUAL AND FIND NO METHOD FOR BINDING OFF RIBBING Is there any method that is fast and easy that doesn't require back­ stitching with a tapestry needle? Knit the desired number of rows of ribbing (ending with the carriage on the right). When the fabric is stretched horizontally the purl stitches appear. alternating stitches from bed to bed until all stitches have been bound off. Place the latch tool hook to hook with the end needle.from one strand on standard gauge machines to several strands on bulky machines. Push the needles on both beds to hold position. For further details. tel. Ribbing which is completely at rest should look like stockinette stitch. Remove all weights and combs.HOW DO I KNOW IF MY RIBBING HAS BEEN KNITTED AT THE PROPER TENSION? 1 Ribbing is an elastic fabric. This bind off is quite flexible and looks as though it has been done on hand knitting needles . Pull back on the latch tool pulling the second stitch through the first Repeat across. If you do not have a plating feeder for the ribber.rib tuck. . The tendency with ribbing is to knit it very tightly. knit one loose row at tension 9 or 10 (carriage on the left). Draw the needle butt back and the stitch will pop off on to the latch tool. Ribbing which is properly tensioned will have the desired elasticity. WHEN KNITTING WITH SOME YARNS I HAVE TRIED EVERY POSSIBLE TENSION FOR MY RIBBING AND STILL FIND THE QUALITY TO BE LESS THAN SATISFACTORY How can I improve the quality of my ribbing with these yarns? The quality of ribbing can be enhanced by the addition of a stabilising thread. 0533 404464. racking. Push the latch tool slightly forward so that this loop will go behind the latch. This removes the elas­ ticity and the purl stitches will be visible all the time. Rotate the latch tool 180 degrees so that it faces the next stitch (which is on the opposite bed). Draw back the needle butt and the stitch should pop off on to the hook of the latch tool.if you do. Assuming that you have done the ribbing at a tension of 5 or less. IfI wish to add stretch to cotton yarns I use an end of fine lycra In this coun­ try fine lycra is readily available from several soUICes in clear and in colours. the same effect can be acquired by running the plating yarn (thread or lycra) under the handle of the main carriage and knitting it with the main yarn as though there is only a single yarn. You should not be able to see any purl stitches. Editor's note: Yeoman Yams sell fine elastic on cone. This technique ensures that the plat­ ing yarn stays hidden and eliminates the undesired effects of colour change and looping. Place the hook of the latch tool into the hook of the next needle.

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if the garment was to be stocking stitch based and incorporate a large motif. Being in a summer issue. I have to confess that my knowledge of Japanese machines is limited. We are not concerned about joining the two together as the sewing machine is going to do this for us. This is not only decorative. The principle is very simple. and whilst I can tell Duomatic users exactly what to do. These two together give firm fabric with quite a dense stitch formation which takes embroidery very well. Hand selecting is still quicker than all-over Intarsia. for the garment. try using needles in a similar position on the ribber. Details can be added later with machine embroidery. Users of 24 stitch machines can punch the middle and hand select the extra bits on the side . They will have to knit on every row but this doesn't really matter. The motif floats will then span the whole width of the work. Make these extra stitches motif colour. See Diagram A with the pattern (page 65). not any more because I have discovered a way of getting the effect of Intarsia without all the fiddling. MOTIF SELECTION There are. If this doesn't work. we go to the colour changer to pick up the motif colour and kn'it two rows on the motif needles whilst holding the background needles. Two colours in a row does not mean two colours in the garment and it is simple to change colours as often as needed going upwards. beads or Swiss darning if they are needed.I think that you are going to find this rather interesting reading. you would find that the motif sec­ tion pulls. On the 6000E or Duomatic. My brief was to design a garment that tied together my articles on practical and decorative uses of a sewing machine. Well. use these extra stitches at each side and make them motif stitches. we can bring up a needle outside the work on the back bed (our front bed is the main bed) and set the machine so that these knit only when the motif colour is being used.!Ill When knitting in the normal way. but if you were to sit down and try to do it without knowing the pitfalls. giving even tension. On the right side of the work. Choice of yarn is important because it has to be steamed or pressed and then washed to remove the water soluble fabric that is used for the embroidery. This will be clearer to users of Japanese machines if they understand that the 6000E and Duomatic only ever carry one colour at a time. All we want is a nice even piece of knitting and the best way to achieve this is to make the motif colour carry right to the edges of the work. What follows is written for these yarns. With adap­ tations. my only option would have been Intarsia. but also binds the two areas together. giving an uneven tension and opening up gaps between the motif and background colours. the more floats you will have to eliminate. unless I was prepared to live with floats (which I wasn't). The card then advances one row. All parts of the design will have to be outlined with machine embroidery as this is essential to the technique. leaving a piece of fabric made up of blocks of stocking stitch. For the 'Anchors Away' top. the piece of knitting is a real mess. float side up and gently 'comb' the floats to the side with your fingers so that they are lying roughly as they were knitted. make the pattern on the mylar sheet one stitch wider at each side than required for the piece of knitting. The floats can then be cut away close to the machin­ ing. all you have to do is knit the garment piece. To make a two colour Fair Isle. Up until last week. If you are work­ ing with a Japanese machine. The technique will work with as many colours in a row as you want. braid. A large shape is drawn or punched on to a mylar sheet or punchcard and the shape is worked in single bed fabric as a single motif. limit'1tions.or if it comes down to it hand select the whole motif. with a tangle of floats at the back. This is because there is nothing to 'weave' them together. - DON'T JUDGE BY FIRST APPEARANCES When it comes off the machine. of course. Give the whole piece a light steaming (or pressing according to the yarn used). you must follow the washing and pressing instructions for your par­ ticular yarn. I am afraid it will be up to you to know how to set your machine to get the effect. a fine satin stitch is embroidered over the parts where the colour motif touches the background colour. Having set the machine in this way. The machine reverses the needle selection. The more detail you put within the motif. Do not . I can think of no reason why this should not work with any knit­ ting machine. Handle it as little as possible at this stage. fabric paints or whatever you choose. THE PRINCIPLE I worked all this out on a 6000E. If using something else. The usual cure would be to lay the motif yarn into the adja­ cent background needles but this still leaves floats over the motif. I4'l311li1i31&i!ill!311#:l :l. I used one end of Hobby together with an end of Artistic in the same colour. This will only work for motifs with fairly simple shapes and very little detail. Lay it out flat. If hand-selecting. we first knit two rows of background colour on the background needles whilst holding the motif needles. the garment had to be lightweight which rules out a lot of double bed fabrics. I have stumbled upon an interesting tech­ nique. but as each block of colour will have to be outlined they must be a reasonable size. The only other piece of equipment you will need is a sewing machine that can do zig-zag. I will explain the technique but if you are working with another machine. It doesn't matter how long they are as they are going to be removed anyway. you would find yourself in big trouble. The design can be further embellished with more embroidery. The easiest option all round is two colours in a row. In the process of experimenting with stitches etc. Steam­ ing softens it considerably so that in the end it has the look and drape of cotton but without any of the prob­ lems. THE PRACTICALITIES That is the principle.

. STEP2 STEP 1 Right side of work Wrong side of work � � Floa • • • • • • • • • .. . . The water soluble fabric is trans­ parent so you can see where you have to go. . • •• .... over the motif...... change to a larger than usual needle to avoid shredding and snapping....... Sellotape / Water-soluble fabric ' STEP4 Satin stitch round motif from right side . •• ••• . Set your sewing machine for satin stitch... ........... .. I ....·.... STEPS Trim floats from outer edges of motif.. .. If the motif has areas of background within it..... ........-: '-t-+ .... will help greatly....... s ..... If using a lurex thread. This will give the feed of the sewing machine some­ thing to grip on and prevent the floats from fouling the machine... ..... sew all around the motif so that the needle goes first into motif colour and then into the background.... ......ldilMU•§i[i]ll To complete the technique. through all layers to hold them together and also to he! p prevent the knitting ... I used a 4mm stitch width... Now sandwich the work between a piece of water soluble fabric on top and 'Stitch and Tear' underneath.. . When dry.... .... Tack around this line............ .... .... Sew narrow.... ••••• • • • •• Stitch and Tear (or paper) \ : COMPLETION METHOD Sellotape one piece of water soluble fabric to the wrong side of the knit­ ting... .......... . stitching the two together.. .. Stitch around all the outlines...........-:-:-:·'. If you choose this method...... STEP3 Layer work as shown ready for satin stitch Water-soluble fabric Knitting right side up Water-soluble fabric •••• • . take it slowly and remember to breathe! require a degree of skill with a sewing machine.... .. Where there is a gap.'.... Leave the water soluble fabric from the last step where it is.. .. these will also have to be stitched around to bind them together........ coax them together as you sew.. . ........... the very best way to do this which virtually guar­ antees no stretching is to drop the feed and work freehand but this does to work without a hoop.... If you decide on a more conventional method.... ....... A 'disappearing pen' (see my article in the May issue) will also be very useful though you could use a pencil....... .. Lessening the pressure on the foot or using the thick fabric 'halfway' position if your machine allows it....... Trim all remaining floats Wrong side of work ---"'1 s �> -==::::is ---"T> ---.......... ........ you will need two pieces of water soluble fabric and one piece of 'Stitch and Tear' (or paper) approximately two inches (five centimetres) bigger than the motif all round as well as sewing machine thread. ..... open zig-zag all round motif to bind sections together Protect floats on wrong side of work ..... . not decoration or detail... this yarn does not fluff up and if the tape is only lightly pressed to the fabric shouldn't cause any problems.. : . . With a narrow open zig zag (I used a stitch width and length of two millimetres) and matching thread....... ........... : : : : : ... ..• • ... .. > i. •• c• IM:ii3dt:IHiM......-'... ..... • ......... . If in doubt........ . are essential....... but following the drawn out­ line helps you get smoother edges and add little 'ins and outs' as nec­ essary. ... Sellotape the floats to the fabric well away from the motif..... At this stage it is only the edges of blocks that you are con­ cerned with.--> _ __ STEP6 Embellish as required Right side of work Background .. ..... .... Sharp scissors that cut on the point........1. you will find that with all the layers.over steam as this has a cumulative effect and you will be steaming this piece quite a bit more... trace off the outline of the motif.......... the fabric will be quite stiff enough THE FINAL STAGES Remove the 'Stitch and Tear' and water soluble fabric from the wrong 63 . (See April and May articles for more hints and tips)... If you are going to add further machine embroidery you will need a second piece of 'Stitch and Tear'..... However.. This keeps them in place whilst sewing..... Fold floats and zig-zag fabric edges to secure. .... Motif Please note that diagrams have been greatly simplified and are not to scale stretching. Normally I would not suggest Sellotape on knit­ ted fabric as it might fluff up the yarn when it is removed (the leg waxing principle!)...·... .... .. use tacking of a contrast colour. preferably small ones for better control.-'.. If your yam cannot take the Sellotape... • • - • • • I . try it out on the tension swatch.. Take care not to stretch the knitting as you are sewing....... Do not go too narrow as you need a reasonable width to cover the 'steps' of the stitches as the motif curves..-'......... With the dis­ appearing pen......•••• ..... ..... .... ··- ---•> > > >i---­ ?r----- > (r---- >�-> ....

Duomatics: It is not possible to use Card A set as a single motif to knit pat­ tern automatically. The width should not be changed. Fold the floats away from the knitting to reveal the fabric. The garment uses cut and sew for the neckline. 17% Nylon COLOUR: We used White (MC) and Navy (CJ to knit the neckbands in one piece on a drop shoulder garment. The embroidery will probably seem rather stiff but do not worry about this. agree. you can rehang it to finish it off and nothing is lost. I do hope that you have found this mini-series on the sewing machine has given you an insight into the potential of combining the two types of machine. Change thread on the sewing machine if necessary. suggestions for settings have been background. where an RC . practice makes perfect.5[27:29]cm. Japanese machines: Please note that the 6000E and Duomatic give two rows of knitting for each row of card. Sleeve seam 25. If this setting was used the striped background would not continue beyond the edges of the motif.g. shoulder. the pattern will need to be reversed for Japanese machines. Length 66. armhole and sleeve shapings. See cards A and C. That way. Washing also seems to take the stiffness from 'Stitch and Tear'. Small embroidered motifs like the little anchor on the pocket are easy to do. STOCKISTS: If you have any difficulty in obtaining this yam. adaptations. There is a similar series for the overlocker in the pipeline so if you've never had the best results from yours. sew down the edges of the fabric. and I would strongly suggest that you knit up a practice piece exactly as the gar­ ment piece but knitting off on to waste yarn about twenty rows after the motif. One end of Artistic and one end of the same colour Hobby are used together throughout. To suit bust 81-86(91-96:101-106Jcrn Tension must be matched exactly before Finished measurement 104[114:124]cm. To have the anchor sloping the correct way. it may look different. Avalon). larger sizes. the floats may still be attached to one or both edges of the knitting. In every case.5[69:72]cm. cut away the floats from the outer edge of the motif. If you want to embellish the design further with machine embroidery. used to measure work on the machine. SPECIAL NOTE to select pushers every four rows. ordinary zig-zag or another suitable stitch. MATERIALS Measurements given are those of Bramwell Artistic. where possi­ card and knit the motif without the striped ble. However. Plot the design on to the water soluble fabric and embroider as required. do not attach the Deco to the lock but sweep it across 1 x 500g cone in each of MC and C. this refers to the lock of the same colour. The 6000E and Duomatic pat­ tern on the front bed with the right side of the garment towards the knitter. row counter. finished garment and should not be 1 x 500g cone in each of MC and C. make another 'sandwich' of fabrics with water soluble on top and 'Stitch and Tear' underneath. Please read the accompanying article (page 62) before starting to knit. it will not be necessary to change the back lock settings whilst knitting the motif. Due to the increased width. Depending on which knitting machine you are working with. you will find that the embroidery softens considerably. NOTE Knit side is used as right side. though with Bramwell Hobby essary when the navy stripes go all the way across. used together throughout FIBRE CONTENT' Artistic is 100% Acrylic. the motif is worked in write to FW Bramwell & Co Ltd. the yarns twisting at the right hand edge. Lane Side. If this card is to be used. GOODE and Duomatics: The anchor colour is C and must be threaded in eyelet 2 (or· on the right of MC) to avoid SIZES out (SS approx -/6 =MT). Sometimes washing can change the look of a fabric as dressings or excess dye are removed and if one piece has been washed and not the rest. it can be made with a drop shoulder. The motif will then be placed to one side on the knitting. use the second Matching sewing thread. I suggest that you leave this until the garment is made up. Metcalf Drive. Unit 5. Alternatively. and using either a narrow three step zig-zag. the garment can be made Gold lurex for machine embroidery. Accrington. if you make a better job of the practice piece than the proper one. If you look at the step by step diagram and read what I have written I am sure you will find that the technique is extremely simple to follow. using one ing 'Japanese Machines'. The fabric now needs to be soaked in cold water to remove the water soluble fabric. This will only be nec­ Stitch and Tear.side of the work and then take away the Sellotape or tacking holding the floats. help is on its way! 64 Lady's lntarsia-look Anchor Top for Passap/Pfaff machines Users of Japanese machines will have to set their machine as necessary to get the same or similar effect. please For simplicity. where there is only one set of figures. this applies to all sizes. together through- tings are for the 6000E and Duomatic. it will not be possible MACHINES: These instructions are written for Passap/Pfaff Duo or electronic machines (general instructions given for other machines) YARN· Bramwell Artistic and Hobby. The floats can now be cut away from these edges as well. so a couple of trial runs on a piece of waste to make sure you know what stitches to use (write them down when you have found them) should be more than enough practice. If preferred. on Japanese machines. Lanes BB5 5TU piece worked asymmetrically on the machine. That's all there is to it. If working without the striped back­ ground. The garment can be worked with or without the striped background as pre­ ferred. rather like opening a book. How­ ever. starting garment. ABBREVIATIONS Figures in square brackets [ ] refer to See page 54. These instructions are written for 6000E tinue the stripes. Hand select the pushers at the sides to con­ Water soluble fabric (e. MAIN TENSION included. and Duomatic machines. Once the water solu­ ble fabric that was trapped in the embroidery has been removed. Hobby is 83% Acrylic. General instructions apply to all machines but end of Artistic and one end of Hobby specific instructions such as lock set­ number is given. See Diagram A. Trim any remaining floats from within the motif so that you are left only with stocking stitch areas. so pattern will have to be doubled in length to give the same sized motif (use elongation). They will have to be made on each quarter and joined at centre front and centre back. Working as close to the satin stitch as possible. These appear under the head­ 6000E: The lock row counter and the 40 sis measure 140mm and 40 rows console row counter will not always measure 93mm over st st. the centre of the bed and the garment Altham.

Work in stripes as set until RC shows 72[72:84]. K until RC shows 126. Bring up appropriate number of Ns on FB and same number on BB. Using C. Japanese machines: The above are instructions to make a tubular hem. when motif will be complete. Using MC and MT. LEFT FRONT WITH POCKET - Make one Push 73[80:87] Ns on FB to WP. Set RC at 000. or Knit Technique Card C. 6000E: to avoid cast on instructions. Japanese machines: Bring up Ns as necessary to hold motif colour floats.5:31 I Width required 6000E: K12rows �t- K12rows GX t. ADD Card A.5(40. cast on as given in pall note. Starting with C. move locks to L of Ns. REP ROWS NO. Set locks GX/N. not RC 252. Set locks CX/CX.K12 rows BXt- rQt- K 12rows -��. continue in stripes as set until RC shows 72[84:84]. Cast off if making dropped shoulders. Transfer all sts to FB. and then trans­ fer all the stitches to main bed.PATTERN NOn 6000E: Program console as follows: Cast On 3 (will not be used) Stitch Pattern A Card A ADD CARD B. Black strippers. Set locks to GX/GX. K6 rows. Handle up. K until RC shows 252. cast on for st st. K24 rows and turn up a hem. K6 rows. - 65 . Cast On -press ABC button. All: Turn off console.r LX t­ only Make one Push N 27[30:33] at R of centre 'O' and 73[80:87] Ns to L (last N at L will be number 46[50:54]) on FB to WP. With required yarn in lock. RCOOO.5:425] DUOMATIC: �4 26128. DIST STS 0. Engage Stitch Pattern A or Card. K1 row. K until RC shows 24. REP STS O. SS 5W5�. SS-/6. RIGHT FRONT WITH ANCHOR 45(49:50. Handle down. Using C. All: Set back bed and locks as shown in Diagram A. Alter­ natively. proceed as follows: Start Cast On ENT. Using· MC.5] DIAGRAM A I SLEEVE I I BACK/FRONT PIECES 38. Set RC at 000. cast on and make hem as given in pall note. REP ROWS NO.ENT. K 2 extra rows and WK if making cut and sew armholes.= EITHER MACHINE: If working Card C BX t­ BX to BX t. Startpos -put in start position -ENT. REP STS NO 176 Cast on and hem: Used for all gar­ ment pieces. Set locks N/N. DIST STS 0. 12 rows deep on each bed. SS 3W3�. Stitch Patt A .

Alter­ LEFT BACK natively. commencing with C. right front (with anchor motiD to cor­ rect measurements. Lower presser foot and continue. •••••••••••••••••••••••••••• . If embroidering. Cast off if making dropped shoulders. lllllHlllHllllllllll lllllllllllHlllllllll •••••••••••• llHlllllHH back seams.. size on paper. cast on as given in pall note. Apply bands to neck­ line and shoulders.. CARDA •••••••••••••••••••••••••••••••••••••••• •••• •••••••••••••••••••••••••••••••• ••• ••••••••••••••••••••••••••••••• ••••• ••••• •••• •••••••••••••••••••••••••••• . Using orange tool. With right side uppermost.. down cast off edge.. Eyelet or straight stitch / TO MAKEUP Use MC for hem.... K6 rows.. Work in stripes � DIAGRAM B �� SLEEVE TWO Narrow satin stitch Step 2: Make second row of scallops sewing in opposite direction to make mirrored image POCKET Push 30 Ns on FB to WP.. NB: All extra decorative embroidery shows 42. Continue in MC through­ out and K until RC shows 270(282:295]. Ns through work just above machine stitching. As before startiflg to knit. cast on as given in pall note.. Steam all seams.lder sections together catching edge of hem only.. Change direc­ for band. Continue in MC through­ out and K until RC shows 270[282:295]. Take care to join back pieces so that striped side can be joined to striped front at underarm. ••••• ••••• IHHIHllllllllllHlllllllll ••••••••• •••• I 11111111111111111111111111 •••••••••••••••••••••••••• ••••••••••••••••••••••••• llllllllH •••••••••• 11111111111 and stitch armholes.11l1213lcm �1 1� 21[23:25lcm 6cm Bern E � I --------- CUT AND SEW DIAGRAM SLEEVES CUT AND SEW DIAGRAM BACK/FRONT DIAGRAM C / �I IE. Make one Push 73[80 87] Ns on FB to WP. If making shaped armhole.. Backstitch through Make one SLEEVE ONE Use C for hem. Small RIGHT BACK SLEEVES used on all shoulders.. cord could be used. 132[144:156]... K through each BB st.. Using C and MT. RC shows 272[282:295]. start and work in stripes throughout. K until RC shows Cast off using latch tool. Pin and stitch sleeves to armhole edge matching centre of sleeve llllllllHll ••••••••••• lllllHlll ••••• Ill head to shoulder seam (join of bands). Mark using waste yarn loops as a guide. Repeat with shoulder edge. an alternative to embroidery... Steam bands. Pin pocket to L front and stitch in to place. lay garment on BB with neckline edge just hanging leaving N in work. Use straight stitch between links or advance fabric as for scallops required.. K until RC alter floats have been cut away.. Fold band to inside and catch C.. If a suitable stitch is not available.g cut and sew armholes. Cast off if making dropped shoulders. Carefully wash gar­ ment to remove water soluble fabric. der cast off. With right sides facing. Transfer FB sts on to BB Ns. Remove excess Stitch and Tear and water soluble fabric. pull BB Pocket Draw small anchor to required and sew armholes. Graft shou. ing a band similar to the hems. Continue along shoulder. backstitching into sts held by WY and continuing up side.. tions in accompanying article (page 63). Set RC at 000. Chain and ring are embroidered (including pocket and sleeves) is made with water soluble fabric on top of knit­ BANDS Note: Read making up instructions ting and Stitch and Tear underneath. . Trace on to water soluble fabric taking note so same number of Ns are and embroider on to pocket. use a narrow open zig-zag or embroider by hand with a double thickness of thread 9[10:11] times in all.. make cast on and hem (see pall note). required position of chain and ring on Add together to determine the total Ns to water soluble fabric. cast on with WY.. K6 rows. WK. mark out neck­ •••••••••••••••••••••••• IHlllllllllHlllllHlll •••••••••••• 111111111111 •••••••••••• 66 1111111111111111 11111111111111111111 IHllllllllllHlllllllll 111111111111111111111111111 11111111 111111111 111111111 I . Using MC.. K 2 extra rows and WK if making cut K 2 extra rows and WK if making cut over BB Ns. shoulders and sleeve heads if using cut and sew for these. Inc 1 st at each end of next and every fol I 6th row Carefully bring work forward to lie over FB. Using MT. Using MC. Join underarm seams. Join centre front and centre back seams if making cut and sew armholes. using chain stitch. Using Using C. throughout. Use WY loop chains were made using a built-in stitch. 126(138:150]. ••••••••••••••••• CARD B loops held by WY on right side of gar­ Embroider chains on sleeves if required. Set RC at 000. lilting presser foot and pivoting work on N to new direc­ tion. Continue in MC ment. Using C. cast on and work 'hem' as given in pall note Anchor motif: Follow special instruc­ but only K 12 rows in all. Cast off if making dropped shoulders.. K6 rows. but do not transfer sts to FB. If making dropped IHllllllllllHlllllllll •••••••••••••• •••••••••••••• lllllHI CARDC on cut and sew diagram. Using MC and MT. •••••••••••••••••••••• llllllllllHlllllllll shoulders. join centre front and centre lllllllllllH lllllllllllHll ••••••• llllHlll ••••••••• 1111111 •••• •••••••••• ••••••••••••••• line with disappearing pen or pin and tack. MC. braid or very slightly stretch and note Ns Diagram B... Push 73[80:87] Ns on FB to WP. start and work in stripes until RC shows Set RC at 000. Remove WY. K until 108(114:120) Ns. K 2 extra rows 60(66:72).. Chains are made of scallops and zig-zag as shown on Hold neckline edge to needle scale. Mark end of neckline with loop of WY as shown on cut and sew diagram. tion of chain at end of a scallop only by Set RC at 000. draw Step 3: Sew lengths of satin stitch over gaps between scallops. Using C and MT.. pin bands together from armhole edge end of neck line. using Diagram C as a guide.. Stitch around using a suitable stitch on sewing machine or overlocker. If making dropped shoul­ Japanese machines: The above and WK if makir. Using General instructions Make cast on and hem over as a guide. and sew armholes. •••• 11111 •••••• Hlllllllll ••1111111111111 Striped sleeve goes to plain armhole and vice versa. start and work in stripes until RC shows Using MC. instructions are for knitting and attach­ CUt and sew: Following measurements K until RC shows 90(100:110) and WK. K24 rows in st st·and cast off. � Block and lightly steam pieces except throughout.

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and •••• and •••• STRETCH FABRI C PAINTS AND ACCESSORIES and •. Carlton 2218 Sydney N. Altham. - . Tel: 604 270 fJ137 Australia East and South: Reynolds Bros. Tel: 0031 5712 71362 Also represented in: South Africa. 24170 Belves.A. Dobson. Midland. Tel: 53 29 36 04 Germany: M + M International. Iceland. Box 8244. Tel: 05761-3282 Belgium: Contact M + M Nederland. P. Channel Islands.O. Texas 79708.. Tel: 09-367-5901 New Zealand: Conecraft. Tel: 05712-71362 France: M + M BP31. U.D.W. Importer: M + M Nederland. Metcalf Drive. Tel: 03 738 0009 Malta: Joseph Callus.C. 21052 Busto Arsizio. Molendwarsstraat 66. R. Tel: 258-75020 Australia Western: Dormani Yarns. South Island. Holland. Postfach 1347 D-W-3078 Stolzenau. Italy. - - - PATIERN BOOKS Bramwell CHOICE YARNS C OWUR MATCH BUTTONS For details of your local stockist. Sole Importer: Bramwell Yarns Inc. Malta.. Unit S. Julians STJ09. V6X 2B2. New Zealand. Tel: (0282) 779811 Fax: (0282) 779860 U.S. Accrington. Sweden.. Altham L ane. Tel: 03-315-05051 Nederlands Exel. Canada.S.3 Road.. W. 44. Perth. BBS STU. 14.A. Tel: 356 696985 Italy: Argenziano Modesto. Corso XX Settembre. Tel: 915 699 4037 Canadian Sole Importer: Westrade Sales Inc. 53 Carlton Parade. Ltd.. 7391 ZS Twello. Varese.S.•• . Richmond B. Russia. Lapsi Street. Bramwell and Co. contact:- _ F. Westland. 2711 No. Hong Kong. St. Finland. .