About Top-Down Raglan P ullover s
The top-down raglan design is of
comparatively recent origin in terms of
swea ter design. Raglan construction was
created as a supplement to or replacement
of the saddle shoulder sweater. See Suzanne
Bryan's a rticle "Raglan Sleeved Sweaters
from the Bottom Up" on page 46 for more
d iscussion o n the history of this design.
The hallmark of the raglan is the diagonal
shaping lines moving from the top of the
neckline, to the underarm. Thus, the sleeve
top is in tegrated into the neckline. This
design eliminates the problem of excess
fabr ic under the arms which is frequently
fo und in d rop sleeve sweaters or seams to
limit the wea rer's movement.
Com ponen ts
A ragla n sweater incorporates the same
components as other sweater designs
- edgings, a body, sleeves and a neckline.
What sets this design apart is the method
of shaping the armhole. AJso, although it
can be worked in pieces and seamed, raglan
construction lends itself quite well to being
worked in one piece whether from the
bottom up or the top down. W hen worked
in o ne piece from the bottom up, the sleeve/
body stitches arc joined when the length to
12 Cast On • May - July 2010
the underarm is complete and the raglan
"sea ms" a re decreased to the neckline. From
the top-down, the sleeve/body stitches are
increased to the underarms and then th e
sleeves, front and back stitches separa ted
and wo rked to the edgings as three separate
tubes.
Con struct ion
A top-down raglan is essen tially a seamless
rectangular yoke. Once the math for gauge
is complete, cast o n placing markers at
the four points dividing the back/sleeve/
fron t/sleeve (see Swatch 1) . The stitch before
the p urple ma rker is the beginning of the
fro nt neck. T he stitches between the p urple
(begi nn ing of round m arker) and the fi rst
green marker are the ri gh t sleeve stitches.
The sti tches between the green m arkers
are the back neck. The stitches between the
second green ma rker and the blue marker
are the left sleeve stitches. The stitch after
the blue marker is for the front neck. In
other words, the short sides of the rectangle
are the sleeves, the long sides are the front
and back. The "yoke" of the garment is
created by increasing two stitches at each
marker every other row. After knitting a
couple of inches, some additional stitches
may be cast on for the fron t neck and the
piece joined to be worked in the round.
Continue increasing every other row until
the p iece is long/la rge enough to meet at
the underarms. The sleeves/front/back arc
separated at t his point. Some designers have
the kn itter work the sleeves first so they are
worked down to the wrist and finished off.
Others instruct the knitter to work the body
first and then the sleeves. In that instance,
the body is worked as a tube to the desired
length and finished . Regard less of which
is done first, some additional stitches may
be cast on for the underarms to reach the
desired chest measu rement. The finishing
on a top-down raglan can include a short
seam at the underarms if the sti tches fo r the
sleeve were not picked up from th e body
when started. Finish ing can also include
the neckJ ine edging or a button band for a
cardigan if they were not worked as a part
of the ga rmen t.
Pros/Cons
Pros
For many knitters, one of the major
advantages to working a top-down raglan
design is the min imal amount of finishing.
Once the piece comes off the needles, it
is almost complete. For those who don't
like or are nol proficient at finish ing, this
design produces a great looking finished
object.
An other advantage to working from the
top ~ down is that the garment can be tried
on as it is progressing. In order to try it
on, the stitches need to be moved to waste
yarn long enough to hold the stitches when
they are stretched out. Once the sweater
has been tried on, it goes back onto the
kn itting needles to continue work ing.
Also, particularly relevant fo r children's
garmen ts, sleeves and body length can be
more easily lengthened as the child grows.
Simply remove the bind off and the ribbing,
put the stitches onto the needles and knit
to the added desired length, finishing with
the edging. Children tend to grow taller
faster than they grow around. Being able to
lengthen sleeves and body will lengthen the
time a sweater fits.
Cons
The diagonal lines running from neck to
underarm have the effect of accentuating
the shoulders. This attention to the
shoulders is not troublesome for most
children and men, however some adults
may not want this focus on their sho ulders.
Also, not all adults are as angular in shape
fro m the neck to the armhole (or the
armhole to the neck) and so the rate and/or
placemen t of the increases (top down ) or
decreases (bottom up ) need to be altered
for a more tailored fit.
Placing markers at the beginn ing of the
cast on, for top-down, or at the poin t when
the sleeves a re joined to the body for a
bottom -up is one of the more challenging
aspects of setting up the "seam" placement.
If the markers are not properly placed, the
shaping Kill be off.
Stitch Patterns
When designing for a top-down ga rment
in a sti tch pattern other than stockinette
or garter stitch, one thing to keep in mind
is that stitch patterns and color work are
necessarily worked upside down. Because
the garmen t grows from the neckli ne
toward the hem, the stitches are the inverse
of what they are when the garment grows
from the hem to the neckline. As with any
design adventure, swatching is a must.
Cables can be incorporated into the ragla n
shaping. Extra stitches need to be cast on to
accommodate the cables. Be sure to recheck
the math for sizing. Incorporating lace,
cables or any stitch pattern involving stitch
multiples can be a challenge. The stitch
pattern should be centered over the front,
back and tops of sleeves. Also, the type/rate
of raglan shaping needs to be harmonious
with the stitch pattern.
Designing within the Framework,
The raglan design is a great canvas for
playing with vario us types of increases/
decreases. Because this article focuses on
top-down construction, we will review Swatch 1
increases and their visual appearance. As
knitters working through the Master Hand
Kn itting Program learn, there are many
different ways to increase stitches. The
diffe rent methods of working increases
resu lt in diffe rent visual appearances. As in
lace, using a yarn over increase will create a
hole (see Swatch 2). When flanking a center
seam stitch, the hole adds visual in terest
and decorative appeal to the seams. The
yarn over increase is particularly sweet in
children's garments and also complements
an allover lace design nicely. The bar
increase creates a small "purl bump"
and also works nicely flanking a center
seam stitch (see Swatch 3) . Remember,
in working the bar increase, that the pu rl
bump falls after the stitch in which it is
worked. In order for the bumps to flank the
center stitch, one increase must be worked
in the stitch just preceding the seam stitch
and one in the seam stitch itself. Make One
increases are visually less noticeable than
the yarn over or bar increase methods.
They are worked in two different ways and
are directional depending on the manner
in which they are worked (see Swatch 4).
Some knitters prefer that the increases slant
away fro m the seam (blended increases
- as Swatch 4) and some prefer they slant
toward the seam (full fashioned increases)
- this is a matter of personal preference,
but be consistent. Beca use the increases
are worked every other row in the raglan
shaping, lifted increases are not the best
choice.
continued on page 14

FASHION FRAMEWORK
continued from page 13
The lifted increase is worked by pulling up
a leg of the stitch from the previous row;
having fewer than three rows between
increases can result in the fabric puckering.
As with most other types of garment con-
struction , raglan designs can incorporate
many types of necklines. Cardigan designs
are worked flat or steeked and the front
neck shaping is dictated by the type of
neckline desired. Because the back neck of
pullovers needs to be higher than the front,
most are worked fla t, or back and for th,
for a couple of inches while working the
increases before the front neck stitches are
added and the piece is joined to be worked
in the round.
For crew necks, once the desired back neck
length has been worked, som e stitches are
cast on fo r the front neck and the garment
joined. For v-neck pullovers, neck shaping
is created by slowing the rate of increasing
at both ends of the row (the fron t neck) to
every other right side row or every 4th row.
A deeper v-neck can be created by further
reducing the r;te of increasing to every 6 or
8 rows and when the front and back stitch
counts match, the fronts are joined and the
garment worked in the roun d. A turtl e-
neck garment is worked as for a crewneck
although the depth of the back neck is
shorter so the neck open in g is smaller. A
turtleneck can be started either with a pro-
visional cast on, the live stitches from which
are used fo r the turtleneck, or the turtle-
neck cast on straightaway. Square necklines
start with more front neck stitches cast on
and are worked without increases at the
neck front to the desired depth and then
stitches cast on across the front. Care must
be taken with a square neck design. If it is
too wide, the front will d roop.
Bust darts and waist shap ing are
occasionally used in women's garments
and easily incorporated. Generally, darts in
14 Cast On· May- July 20 10
a top -down construction are vertical and
would consist of decreases. Waist shaping
happens by decreasing to the waist, working
plain for an inch or so and then increasing
at regular intervals to the desired stitch
count for the hip measurem ent. While
most patterns work waist shaping where
the side "seams" would be it co uld also be
worked as vertical darts as "princess seams".
The bottom of the sweater is another
stylization opportun ity. Many basic patterns
end the garment with ribbing. Seed or
Moss Sti tch can be substituted for ribbing.
Working a turning row and then reducing
needle size to work an inch in stockinette
sets the stage for a hem. Hemming the
garment increases the fini shing as it will
have to be sewn in to place. V\Thatever fin ish
is used for the bottom of the garment ca n
be applied to th e sleeve ends.
The sleeve design can be altered as well.
Top-down sleeves are traditionally worked
with regularly spaced decreases to the cuff.
The sleeve stitches can be worked without
any shaping which is perfect for babies and
toddlers. Or, decreases can be worked to the
elbow and then regularly spaced increases
worked to create a bell-shaped sleeve.
Top-down raglan's ease of construction
allows a great starting point for adding
design personalization. Once a knitter is
comfortable with how they are worked,
top -down raglans can become the "go to"
design for the busy person.
CHILD'S PULLOVER
The pattern in this lesson is for an easy
child sized top-down raglan pull over.
There will be an explanation of each step
of the construction precedi ng the pattern
section to which it pertains. Pattern
instructions are in red to set them off from
the explanations. The pattern that follows
incorporates mo re traditional design
elements with bar increases, ribbing at the
bottom of the body and sleeves as well as a
ribbed neckl ine. The sleeves are decreased
at regular intervals to the cuff rib. This
simple design allows for many choices in
terms of pattern and color. Don't make it
too hard. It is simple and straightforward
in design and easy to luiit.
Child's Top-Down Pullover
by Molly Ferrante
Yarn Symbol: Medium (4)
Level of Experience: Easy
Sizes: Child 2-4 (4-6, 6-8, 8-10)
Finished Chest Measurement:
Chest: 26 (28, 30, 32)"
Finished Length: 14 (15, 17, 18)"
Materials:
Cascade 220 (3.5oz/100g, 220yds/200m,
100% Wool):
3 (3, 3, 4) skeins #7823 Turmeric
Sizes 5 (3.75mm) dpns & 16" (40cm) circ
needle & 7 (4.Smm) dpns & 16" (40cm) &
24" (60cm) circ needles or size needed to
obtain correct gauge
Stitch markers
Tapestry needle
Waste yarn (wy)
Gauge:
With larger needles in St st, 20 sts & 28
rows = 4"/ l 0 cm. To save time, take time
to check gauge.
Special Abbreviations:
Beg of rnd - Beginnin g of round.
Kl , Pl Rib- *k l , pl; rep from * across.
kfb- Bar inc - knit into the front and the
back of the st.
Preparation - Measuring Gauge
(See ga uge worksheet in box)
The most important part of the general
pattern informat ion is the description of
the expected gauge. Before beginning it is
necessary to knit a gauge swatch even if you
are using the recommended yarn. Using the
larger needle size and the project yarn, cast
on at least 30 stitches and work at least 4"
in Stockinette Stitch. Because many knitters
have different gauge when knitting in the
round, it is a very good idea to knit your
gauge swatch in the round. Using the dpns,
cast on enough stitches to provide 4" to
measure.Thi.s will require a swatch with
about an 8-1 0" circumference. Row gauge
is important for this pattern as it affects the
depth of the armhole. The stitch increases
combined with the plain rows worked
establish the framework of the sweater.
When faced with the cha.ice of matching
the stitch gauge o r the row gauge, the stitch
gauge is still more importan t to the size of
your finished ga rment. However, if th e row
gauge is o ff too much, it is best to wo rk in
a d ifferen t yarn. Block the swatch as you
intend to care fo r the fin ished garm ent.
Work through the gauge worksheet below.
If yo u do not take the time to do this, there
is no guarantee that the garment will fi t as
intended.
Setting Up the Raglan
Choose a cast on that is flexible. The long-
ta il o r Twisted German are good choices.
T he fi rst row aft er the cast on is a purl row.
This purl row is the "set-up" row for the
st itch markers which are the raglan increase
points. T he increases are worked o n either
side of each m arker, and in the fi rst and
second to the last stitch of each right side
row. In the first right side row there are not
enough stitches to use fo r increases at the
fro nt. As a result, there will be two increases
in the sleeves a nd back sections o n that row,
but o nly one made in the fro n t sectio ns.
Slip the markers as you come to them . The
firs t couple of inches of the swea ter are knit
back and forth in Sto ckinette st itch until
the back neck length m easures between
1-2". The first number given in the pattern
is for size 2- 4. The numbers in parentheses
are fo r sizes 4-6 through 8- 10. If o nly one
n umber is given, it applies to all sizes.
Neck Edge
With larger 16" circ needle, CO 40 (44, 50,
56) sts.
Set up row ( WS): PI , pm, p9 ( 10, 12, 14),
pm, p20 (22, 24, 26), pm, p9 ( 10, 12, 14),
pm ( this marker will become the beg of
row/rnd marker and should be a different
color than the others), pl .
Row I (RS) : Kfb, sm , kfb, k7 (8 , 10, 12), kfb,
sm, kfb, k1 8 ( 20, 22, 24), kfb, sm, kfb, k7 (8,
JO, 12), kfb, sm, kfb.
Row 2 (and all WS rows): P across.
Row 3: Kfb in first st, ~ k to ! st before the
marker, kfb, sm , kfb; rep fro m *. After last
marker, k to second to the last st in row, kfb,
kl . You will be working an inc before and
after ea m arker, and in the first st in the row
and second to the last st in the row - 10 sts
inc. The first time row 3 is worked, there
will only be 2 sts at the end of the row, just
wo rk kfb inc in both sts.
Rep rows 2 & 3 until there are 8 (8, 10, 10)
sts in ea front section - before first marker
and after last marker. End having worked a GAUGE WORKSHEET
WS row - 78 (8 2, 98, 104) sts.
Width:
Joining Around (l/8= .1 25, l/4=.25, 3/ 8=.375, I /2=.5,
When the appro priate number of stitches 5/8= .62 5, 3/4=.75, 7/8=.875)
are on the needle, st itches are cast o n for
the center fro nt neck and the yoke is joined
Number of Sti tches:
to be wo rked in rounds. A cable cast o n
(Do n't incl ude the selvedge stitches)
will give a firm yet flexible front neck ed ge.
You can also use a backwa rd e loop cast
Divide the n umber of stitches by the
on for these st itches, but it will be looser.
wid th. This gives you the number of
Fo r a cable cast o n, p ut the rig ht need le t ip
stitches per inch. Do not ro und off
between the firs t two st itches o n the left
the num ber:
needle. Draw u p a stitch and place it back
on the left needle. Continue in this m anner
Number of Stitches Per Inch:
until yo u have cast o n the requi red number
of stitches. Knit to the end of the row and
Mul tiply the n umber o f stitches by 4.
join w itho ut twisting.
Round th is number up or down .
Working the Yoke
CO 12 ( 14, 14, 14) sts at beg of next RS row Number of Stitches in 4":
for center front neck.
Joining Row: *K to l st before first marker Repeat this proced ure to determine
(this marker will become the beg of rnd the row gauge.
marker and should be a different co lor than
the rest), kfb, sm, kfb; rep from * around to Length:
last marker, knit to end of rnd. Join end of ( l/8=. 125, l/4=.25, 3/8=.375, 1/2=.5,
rnd to CO sts to work in rnds. 5/8= .625, 3/4= .75, 7/8= .875)
Rnd l: KI rnd ending l st before beg of
rnd marker. Number of Rows:
Rnd 2: ,. K to I st before marker, kfb, sm, ( Don't include the cast o n or bind off
kfb; rep from * around to last marker, knit edge)
to end of rnd .
Rep rnds 1 & 2 working St st in the rnd and Divide th e number of rows by the
working kfb inc on ea side of 4 markers
length. This gives you the num ber of
EOR until there are 58 (62, 68, 72) sts bet
rows per inch. Do not round off the
front markers (where front neck sts were
n umber:
CO. Change to longer needles when needed .
End having worked Rnd 2.
Num ber of Rows Per Inch:
Try It On
Mu ltiply the n umber of rows by 4.
At this poin t it is a good idea to try the
Ro und th is number up o !' down.
sweater on the intended recipient, if
possible. Using a tapestry needle and
Number of Rows in 4":
separate pieces of waste yarn, place each
"section" of the sweater on its own waste
yarn - there will be fo ur. The sleeve sections If you are getting fewer st itches than
sho ul d extend o ut beyond the edge of the the recom mended gauge, t ry using a
sho ulders, an d the botto m of the sleeve smaller needle size.
sectio ns sho uld meet comfo rtably together
under the arms. If you are getting more stitches than
the recommended gauge, try using a
larger need le size.
continued on page 16
www.TKGA.com 15

FASHION FRAMEWORK
continued from page 15
If the piece is too small, you can conti nue
to knit rounds without any in creases as
needed.
Finishing the Ribbing
Looking ahead- an invisible kl, pl ribbing
bind off or a kitchener bind off creates a
very flexible and attractive edge. Although a
little more effort than the standard bind off,
these bind offs provide a very professional
finish.
Body
Remove first marker. Put sts from here to
next marker (sleeve sts) onto wy. Using an
e-loop method, CO 4 (4, 4, 4, 4) sts to RH
needle, pm (beg of rnd marker) , CO 4 (4,
4, 4, 4) sts to RH needle. K across back sts
to next marker and remove it. Put sleeve sts
onto wy. CO 8 (8, 8, 8, 8) sts to RH needle -
132 (140, 152, 160) sts. Join in rnd, work in
St st until piece meas 12 (13, 15, 16)" from
the top back neck or 2" shorter than desired
length. Change to smaller needles, work kl ,
pl Rib for 2". BO all sts in pat or with an
invisible BO.
Neck Edging
Working the neckline prior to working
the sleeves provides a more accurate fit fo r
sleeve length. The stitches for the neck line
are picked up in the middle of the knit
stitch underneath the cast on edge. Doing
so makes the neckline appear to grow out
of the sweater fabric. The neckline must
be bound off loosely enough that it will go
over the wearer's head. Again, an invisible
or a kitchener bind off is a good choice.
Working the Neckband
Using smaller 16" circ needle, beg at Back
left raglan "seam': pick up and k 10 (10,
12, 14) sts across top of left sleeve; 10 (l 0,
10, 10) sts across left side of front; 12 (14,
14, 14) across center neck; 10 (10, 10, 10)
across right side of front; 10 (10, 12, 14)
across right sleeve and 20 (22, 24, 24) sts
across back - 72 (76, 82, 86) sts. Work in
16 Cast On· May- July 20 10
kl, pl, Rib for I 1/2". BO loosely in pat or
with invisible BO.
Sleeves
Like the body of the sweater, the sleeves are
worked as a tube. Sleeve length is measured
from the underarm. The sweater can aga in
be tried on fo r appropriate length. The
sleeves are generally finished as the body for
design continuity. To prevent holes at the
underarms, try picking up an extra stitch
between the stitches picked up from the cast
on and the firs t/last live stitch from the yoke
and decreasing those extra stitches away in
the first round.
Sleeves
Place sleeve sts on larger dpns, Join new
yarn at right side of underarm CO sts,
pick up and k 4 sts, pm to indicate beg of
rnd, pick up and k 4 sts across other half
of underarm CO sts. Knit across sleeve sts
to beg of rnd marker - 54 (58, 64, 68) sts.
Knit sts for 3/4" (5 rnds) . Dec l st on ea
side of marker on next and every following
6th rnd, 9 (10, 12, 13) total dee rnds - 36
(38, 40, 42) sts rem. When sleeve meas 8 1/2
(9 1/2, 11, 12 1/2)" or 2" less than desired
length, dee 6 sts evenly in last rnd to 30 (32,
34, 36) sts. Change to smaller dpns, work
kl , pl Rib for 2". BO loosely in Pat or with
invisible kl, pl BO. Work second sleeve to
match.
Weave in all yarn tails using duplicate stitch.
Block.
Striped Version
Adding stripes is easy. Simply change colors
evenly spaced or randomly - two colors or a
parade of colors. Working a jogless join will
reduce the "stairstep" that can occur when
working stripes. To work a jogless join, start
BODY
26 (28, 30, 32)"
the new color and work one round. When
you've come around to the stitch where the
new color was sta rted, pick up the right leg
of the first color stitch in the row below and
place onto the left need le. Kni t that right
leg of the first color together with the right
leg of the new color together. If the jogless
join occurs on an increase round, work a
knit in fro nt and back of stitch increase by
knitting the two differen t colors together as
the front leg of the stitch but only the new
color as the back leg of the stitch. In other
words, knit the two strands (on e of each
color) as the knit in fro nt of stitch and only
one strand (the new color) as the knit in
back of stitch.
References
Bernard, Wendy, Custom Knits, STC Craft,
New York, NY, 2008.
Buss, Katerina, Big Book of Knitting, Sterling
Publishing, Co., Inc. NY, NY, 1999.
Caron, Cathy, Knitting Sweaters from the
Top Down, Lark Books, New York, NY, 2007.
Gibson-Roberts, Priscilla, Knitting In The
Old Way, Interweave Press, Loveland CO,
1985.
Editors of Vogue Knitting Magazine, Vogue
Knitting, Pan theon Books, New York, NY,
1989.
Jape!, Stephanie, Fitted Knits, North Light
Books, Cincinnati, OH, 2007.
Righetti, Maggie, Sweater Design in Plain
English, St. Martin's Press, New York, NY,
1990.
Walker, Barbara, Knitting From the Top ,
Schoolhouse Press, Pittsville, W I 1972.
Madrone, Heather, Knitting Outside the
Lines: Top-Down Design Tutorial, October 4,
2009, www.knitoutlines.blogspot.com
Soucy, Diane, Knitting Your First?, www.
knittingpureandsimple.com
).___________ 2"
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