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Yarn Issue 59 September 2020 PDF
Yarn Issue 59 September 2020 PDF
59 59
$
2020
16.50 NZ
Issue 59
11.50 AUD
9 771832 978003 9 771832 978003
59 59
59 59
59 59
®
Patterns CROCHET
8 Very Versatile Crochet Bowls - Jenny Occleshaw
14 Botanical Face Pads - Simone Cross
10
44 Versatile Top - Elayne Watson
KNIT
16 Versatile Shawls - Eva-Maria Steinkamp
36 Emmeline - Jenny Occleshaw
39 Short and Sweet - Jenny Occleshaw
Editor’s
notes
Rie Natalenko
As I sit and write this, we’re still emerging from lockdown dress/wrap that can be knitted or
in NSW—but we can see the light at the end of the tunnel. crocheted and worn in an amazing
When you read this, in September, I hope the world will number of ways. This issue is just
be looking a little different, although it’s hard to predict packed with creativity.
anything. It makes you wonder what is ‘normal’. As many
of you know, I’m also a cruise-ship speaker. That part of my Speaking of creativity, I know you’ll love the knitted
job came to an abrupt end when COVID-19 hit. I have no creations of Alexander Seraphim. He’s a Russian knitwear
idea when I’ll be travelling again! We’ve had to adapt to a designer of the highest calibre, and his designs are sure to
different world in 2020, and the theme of this issue reflects inspire you. He’s also designed a versatile way of fastening
that idea. We have had to be versatile, to make do, to find his knitwear which is adjustable in the extreme. Let me
new ways of doing things. Our wonderful photographer, know what you think of his magnificent garments!
Andromeda Lembo, for example, has had to find ways of
socially distancing while still taking fabulous photos. Remember Dr Seuss’ ‘thneed’ in The Lorax—the ‘Fine-
Something-That-All-People-Need’? Amy Lane’s characters
So, what did our contributors make of the theme? Linda have a delightful take on a ‘thneed’ in her story in this
Worthington suggests how we can be versatile in our issue! In the series on dyeing using plants that you can
crafting, and we have some wonderful ideas for you to try! grow at home, Simone Cross looks at the many ways to
Jenny Occleshaw has designed some children’s clothes dye indigo, and Alan R Jones explains how to grow it in
that can be knitted—and worn—several ways. Both the our gardens. Have you ever wondered how to change a
patterns and the garments themselves are versatile. Three knitted pattern to crochet or vice versa? Wendy Knight,
designers have added multi-purpose containers. Penny our very talented technical editor, explains it all. She
Eamer uses yarn-wrapped cardboard for her pencil or shows us how to adapt patterns to different yarns,
brush holders, Jenny Occleshaw has designed extremely different plies and different crafting techniques.
useful little crochet bowls, and Rachel Preston shows
us how to make a felted roll to hold our crochet hooks, I’m sure you’ll find something in this issue to keep you
knitting needles or various brushes. Meg Stump describes busy as we emerge into the new world—whatever it looks
a very versatile pin weaving square, and offers many like. We may not be travelling overseas just yet, but while
suggestions for its use. Simone Cross’ crochet pattern we stay close to home, crafts are some of the very best
for eco-friendly face wipes and scrubbies is flexible and ways of keeping ourselves occupied, useful and sane.
simple, and Elayne Watson has designed a simple top/
t
R
ecent events associated
with the COVID-19
pandemic have brought
changing what you have
home in a stark way
the need to be versatile Crochet samples used as dishcloths.
with what we have at hand. There Photo courtesy Elsie Law.
are many ways we can be versatile
with yarn, or knitted, crocheted,
woven or felted items to save
money, upcycle, reuse, or even wear
things in different ways.
BY MARGARET STUMP
Windowpane Lace
Row 1: Weave plain.
Row 2: (U3, O1); repeat across the row, U3.
Rows 3-14: Alternate Rows 1 and 2.
Row 15: Weave plain.
Row 16: Weave plain.
The lovely thing about this pattern is that for all the odd
rows, you just weave plain. For the even rows, you weave
‘under three, over one’ all the way across the row, ending
with ‘under three’. The last row, Row 16, is woven plain
as well. This is a pattern that I love because I can weave
while I sit outside or watch TV- there’s no counting, there
are no complex changes in pattern from row to row. It
may be the simplest pin loom pattern of all and yet it
turns into lovely, lacy cloth.
These crochet bowls can be used for a variety of purposes. They make
handy little nests for rescued wildlife. Be sure to use natural fibres. They also
make fabulous little storage containers. Once you have made a few you will
easily see how you can make them a bit bigger or even smaller if you want.
Vary the yarn you are using to make an interesting colour scheme.
This felted
roll allows
a versatility
that is only
limited by your
imagination.
Knitting needles,
crochet hooks,
make up brushes and
coloured pencils—the
options are endless
really! Keep them all safe
and organised in a handy
felted roll.
1 Lay an old towel on the work surface. This will help to soak
up any excess water and bubbles.
3 Place this piece of bubble wrap on the towel, bubble side up.
Natural and
enhanced
colours
Grown and
en rely
produced in
Australia
www.knitalpaca.com.au
BY EVA-MARIA
STEINKAMP
Length
Approx. 178cm (70in).
www.etsy.com/au/shop/EllieBugMakes
Fibers
& Twigs
downloadable
patterns
www.etsy.com.au/shop/fibersandtwigs
Page 19 YARN Issue No 59 www.ar twear publications.com.au
I found the
perfect
pattern,
but...
H
ave you ever swooped
on the perfect pattern,
just what you were
looking for, only to
Adapting Patterns
realise it’s written for
an unavailable yarn, the wrong ply, There are six logical, and easy, steps:
BY WENDY KNIGHT 1. Record the numbers from the
or it’s crocheted when you prefer to
knit (or vice versa)? on standard needles, you can look original pattern into a table.
What can you do? Let’s look at these for a yarn with a similar quoted 2. Using the quoted tension from
problems one by one. tension. Whatever yarn you choose, the original pattern, convert stitches
knit a swatch to check if it’s really and rows into measurements.
UNAVAILABLE YARN a match. Swatching at this stage is 3. Using the new tension, convert
This might be solvable by yarn invaluable. measurements into adjusted
substitution. You’ll need to take into stitches and rows.
account the quoted tension and also Don’t forget to check the length of
4. If there’s a stitch pattern
the nature of the quoted yarn—is the original yarn compared to your
involved: adjust the stitch count (if
it smooth, textured, thick’n’thin or substitute: you may need to buy
necessary) to ensure the number of
perhaps fluffy? more balls of yarn (or fewer).
stitches fit pattern multiples (e.g.
an odd number is required for 1x1
Finding a yarn of a similar nature THE WRONG PLY
rib), or to centre a feature panel (eg
will make your finished article most Perhaps the pattern is written for
cables), or for pattern symmetry.
like the original photo. a fine yarn but you prefer to use
Be aware that if the original yarn thicker yarns for a quicker result? 5. Change numbers in the original
is worked on larger needles, it will Maybe it’s your favourite pattern, pattern, or better still, mark up a
create an open fabric (e.g. lace made many times, but you’d like a photocopy.
weight yarn used in a shawl), and much thicker, warmer version? 6. Check that the number of stitches
if it’s worked on smaller needles With some guidance you can work adds up, keeping a tally after each
it creates a thicker, warmer, more out the necessary adaptations. stage, as if you were knitting the
insulating fabric (eg mittens or a Essentially, it’s all about pattern. You might be keen to cast
potholder). This will influence the mathematics, but don’t take fright: on, but do not skip this important
best choice for a substitute. knitters use maths a lot more than step—it can help you avoid the
If the fabric appears to be worked many realise! frustration of frogging (unpicking).
Page 20 YARN Issue No 59 www.artwearpublications.com.au
STEPS BACK Original
sts/rows
cm Adjusted sts/
rows
1 Collect numbers
Using the back of a At cast on edge 101 sts
5-ply stocking stitch Rows of lower rib 24 rows
jumper with set-in
sleeves as our example, Sts cast off each side at armhole 6 sts
let’s see how this Across Back, after armhole decreasing 77 sts
methodical approach Remaining on stitch holder at back of neck 37 sts
works for a single size.
Total armhole shaping rows including cast 14 rows
Identify all numbers
off rows
and gather them into a
table: Armhole rows from end of decreases to 50 rows
shoulders
Each shoulder 20 sts
2 Converting original
stitches/rows into
BACK Original cm Adjusted sts/
sts/rows rows
measurements
Checking the original At cast on edge 101 sts 38.9
pattern, the 5-ply
stocking stitch tension is Rows of lower rib 24 rows 6.9
26 stitches and 35 rows Sts cast off each side at armhole 6 sts 2.3
to 10cm, or 2.6 stitches Across Back, after armhole decreasing 77 sts 29.6
and 3.5 rows per 1cm.
Remaining on stitch holder at back of neck 37 sts 14.2
Divide each number of
stitches by 2.6 to get each Total armhole shaping rows including cast 14 rows 4
horizontal measurement off rows
in cm, rounding to one Armhole rows from end of decreases to 50 rows 14.3
decimal point. shoulders
Divide each number of
Each shoulder 20 sts 7.7
rows by 3.5 to get each
vertical measurement
in cm, rounding to one
decimal point.
3 Converting cm into
adjusted stitches /rows
BACK Original cm Adjusted sts/
sts/rows rows
Suppose we decide to
translate this into a At cast on edge 101 sts 38.9 64 sts
pattern for 12-ply using a
stocking stitch tension of Rows of lower rib 24 rows 6.9 16 rows
16.5 stitches and 22 rows Sts cast off each side at armhole 6 sts 2.3 4 sts
to 10cm, or 1.65 stitches Across Back, after armhole decreasing 77 sts 29.6 49 sts
and 2.2 rows per 1cm.
Remaining on stitch holder at back of neck 37 sts 14.2 23 sts
Multiply each horizontal
cm measurement by 1.65 Total armhole shaping rows including cast 14 rows 4 10 rows
to get number of stitches, off rows
rounding answers to a Armhole rows from end of decreases to 50 rows 14.3 32 rows
whole number. shoulders
Multiply each vertical
Each shoulder 20 sts 7.7 13 sts
cm measurement by 2.2
to get number of rows,
rounding numbers to an
even number.
www.artwearpublications.com.au Issue No 59 YARN Page 21
4 Check for stitch
multiples and centring
BACK Original cm Adjusted sts/
sts/rows rows
Check if stitch numbers
suit chosen stitch At cast on edge 101 sts 38.9 65 sts
pattern or make
suitable adjustments to Rows of lower rib 24 rows 6.9 16 rows
centre a pattern panel. Sts cast off each side at armhole 6 sts 2.3 4 sts
In this case we’ll add Across Back, after armhole decreasing 77 sts 29.6 49 sts
one stitch to the cast on
Remaining on stitch holder at back of neck 37 sts 14.2 23 sts
for a 1x1 rib band. All
other numbers look ok. Total armhole shaping rows including cast off 14 rows 4 10 rows
rows
Armhole rows from end of decreases to 50 rows 14.3 32 rows
5 Mark up the pattern
Ideally using a shoulders
photocopy of your Each shoulder 20 sts 7.7 13 sts
original pattern, mark
it up with the stitch and
row numbers you have settled on.
Alexander
Seraphim
When I first saw Alexander
Seraphim’s designs, I knew I had
to showcase them in Yarn. I have
never seen anything like them.
They are truly superb!
I must thank Bohdan Makarov for
translating the information that
Alexander sent to us in Russian,
and for writing this profile for us.
Enjoy! - Rie
BY BOHDAN MAKAROV
A
lexander Seraphim works as
the chief engineer in a factory
in Chelyabinsk in Russia. He
loves knitting, and believes that
knitwear is an area which hasn’t
reached its full potential as art.
T
he ‘Seraphim fastener’ is a kind of giant Since the closure is so adaptable to a design, visually
knitted zipper. It’s made from the same merging with the piece, it becomes another design detail.
material as the garment. Reinforced knit It will never rip off (unlike buttons), break (unlike
fabric loops replace traditional fasteners, plastic or metal zips), or rust and corrode (unlike press
and the wearer slips one loop into another studs or hooks and eyes). The iconic closure can be
to ‘zip up’ a coat, dress, or whatever. Because it’s elastic, opened instantly, but only after the clip is unfixed (unlike
it stretches with the item. the vagaries of traditional zips!)
This fastening system can lie straight, or can curve In Russia, this invention is protected by ‘authorship
in two or even three dimensions. It can be adapted priority’, a type of copyright. Unfortunately, it is
to every sort of knitted garment. The fastener has a completely unprotected abroad because worldwide
decorative fixer—the stop—and unfastening is swift patent is prohibitively expensive. Because of this,
(almost instantaneous). The fastener can be fixed with Alexander Seraphim can’t sell the rights to manufacture
an ornamental clip at any point you like, allowing you to his invention, nor can he supply ready-made closures
alter the length of a slash or fit a wrap perfectly. abroad.
t
Photo 1: Natural indigo, stitched spiral and random pleated shibori on cotton lawn, by Cathy Moon
I
ndigo is ubiquitous in our blue colour through to darker blues
everyday lives—we know it
BY SIMONE CROSS (on repeat dips).
best in blue jeans. The history
of indigo in politics, culture, can be over-dyed by other (lighter) The indigotin compound in the bluish
textiles and trade is fascinating, natural dyes. indigo leaves is the dye source, but
and indigo-dyed cloth is beautiful. it isn’t soluble in water. Indigotin is
The Japanese use indigo dye as an The colours of indigo depend on converted to indigo by being reduced
art form, especially in their Shibori the indigo source (synthetic indigo, (oxygen removed) in a strong alkali
technique. Their use of ties, stitch- bio-indigo and woad), the type of vat vat to convert the indigotin to indigo
resists and paste-resists in the indigo (synthetic or organic fructose vat) that is then available to dye material.
dyeing process is highly refined, and the number of repeated dips
detailed and complex. Photo 1 shows a of your fibre. Any dyer can achieve You need three things to dye with
stunning example by Cathy Moon, local colours from a pale summer sky indigo in a natural fructose vat:
Australian Shibori artisan. through to the darkest navy. bio-indigo powder, a reducing
agent (fructose powder, henna or
Indigo can dye all natural fibres and, There are two main sources of ripe pears) and an alkali-like lime
unusually, dyes cotton particularly indigo—either synthetic (made by (calcium hydroxide, slaked lime). The
well. Indigo is one of the fermented the petrochemical industry and not organic fructose vat uses a
‘vat dyes’ which, surprisingly, does disposable in the environment) or 1: 2: 3 ratio of indigo powder:
not require any mordant. Because of bio-indigo used in a fructose vat calcium hydroxide: fructose.
its deep blue colour (after multiple (which can be easily composted). Start a ‘mother’ vat in a glass jar
dips in the indigo vat) it can give I have chosen to only use a natural using 25g indigo, 50g calcium
a rich deep blue background that fructose vat as it can dye a turquoise hydroxide and 75g fructose crystals.
www.artwearpublications.com.au Issue No 59 YARN Page 29
TIPS AND TRICKS
Setting up a fructose vat
(mother jar)
Wear gloves, apron and face mask.
Put 25g indigo powder in a strongly
lidded plastic container with
marbles and add hot tap water.
Shake well. Tip the indigo liquid into
a 1-2 litre glass mason or weck jar.
Use a small funnel to filter out the
marbles.
You can use the ‘mother’ vat for The magic of an Indigo Vat
dip-dyeing small items or you could Get ready to dip your yarn—have Troubleshooting
make a larger working vat. To do this, a plastic ‘drip’ container and a cold
Testing the pH: Get some pH paper:
fill a 7-9 litre bucket with hot water. water wash bath nearby. The yarn
the proper pH to get good colour
Submerge the mother vat and tip its will look olive green as it goes into
on wool is 9-10 and on cotton or
contents under the surface of the hot the vat liquid. Don’t let it sit in the
cellulose it’s 10-12.
water. Leave this vat (covered) to sludge at the bottom of the vat. You
develop overnight but keep it warm. can get a cornflower blue if you leave My vat liquid is blue: a reduced
Check the pH before dyeing your yarn for only 1 - 2 mins in the vat. indigo vat should be green with blue
fibre the next day. The proper pH to to purple foam ‘flower’ on the top.
get good colour on wool is 9-10 and After you dip dye your yarn or cloth, Check the pH and make sure it’s at
on cotton or cellulose it’s 10-12. squeeze the extra indigo dye into the least 10. Check the temperature of
drip container. You can add it back the vat. Add 1 teaspoon of fructose
Prepare your yarn or fabric after checking the pH. and let it sit for 10-15 mins. This
Tie your yarn into a skein and Put your freshly-dipped indigo fibre should reduce your vat.
prewash your fabric. Thoroughly into cold tap water and swirl it. It My yarn isn’t blue: If the fabric
soak your material in lukewarm will oxidise more evenly than in air. remains green when it’s in the air or
water prior to dipping (I spin out Rinse once or twice more until the after soaking in water, the remedy
Page 30 YARN Issue No 59 www.artwearpublications.com.au
Mini-skeins dipped for 2mins, 5mins and 10mins
Indigo
I
ndigo plants (Indigofera, sometimes called
indogofera) are found throughout tropical and
BY ALAN R JONES
sub-tropical regions of the world. There are about
700 species of Indigofera, of which 30 can be The shrub is a good plant source for wildlife, providing
found in Australia. The name Indigofera is neo- pollen and nectar for many native insects, bees, wasps
Latin for ‘bearing Indigo’. It is not known definitively and butterfly larvae (caterpillars).
where the plant originates but it is believed to be from
India. The first recorded mention of Indigofera can Indigofera are members of the pea (Fabaceae) family and
be found on neo-Babylonian cuneiform tablets from one of their characteristics is the ability to fix nitrogen
seventh century BC Mesopotamia that give a ‘recipe’ for in the soil. Because of this, the plant is often grown as
colouring wool. ‘green manure’—grown specifically to be dug back into
the soil to improve soil structure, water retention and
These beautiful shrubs come in a variety of shapes and draw minerals up through the soil making them more
sizes from prostrate forms to small trees up to two readily available to plants. Indigofera can grow in just
metres tall. The blue-green foliage grows in a spreading about any soil composition except heavy clay and they
habit with beautifully arching branches. Left unchecked do tend to grow better in acidic soil. They can tolerate
the shrub can become straggly but, with a light prune some neglect but do not like their roots in water, so a
after flowering, the shrub can be a rewarding specimen. well-drained soil is required.
The flowers are smooth and form in short spires ranging
in colour from purple hues, through to pinks and reds in Growing Indigofera from seed is a relatively
late winter up to late spring if temperatures remain cool straightforward process and is best done from late
enough. summer to early autumn. Once the plant has finished
Page 32 YARN Issue No 59 www.artwearpublications.com.au
flowering it develops bright green seed pods which
ripen to produce hard, almost square seeds. The seeds
will need to be soaked in hot water (almost boiling)
overnight to soften them before planting. The roots don’t
like to be disturbed so it’s best to start them off in bigger
pots rather than trays, with one seed per pot. Use seed
raising mix and plant to a depth of twice the diameter of
the seed. The pots will need to be kept in a warm spot,
window ledge or greenhouse, with limited light as this
can inhibit germination.
Once the seedlings are 15 to 20cm tall they can be from cuttings. Cuttings should be 10 to 15cm long
planted in an area with dappled shade. They’ll need and include at least one leaf node. Keep the cuttings
watering regularly and a slow release fertiliser should be upright, as upside-down cuttings will not grow. Keep the
added in spring. Indigofera are moderately frost hardy cuttings in a warm bright spot but not in direct sunlight.
once established. The most common species grown here Soft-wood cuttings should be taken from late spring
in Australia is Indigofera australis, though ‘australis’ in throughout summer. Semi-hardwood and hardwood
Latin refers to ‘southern lands’ rather than Australia. cuttings that have visible new growth emerging can be
taken from mid to late summer. Hardwood cuttings take
more time to get going so the key is to be patient!
Another option to growing from seed is to propagate
t
www.artwearpublications.com.au Issue No 59 YARN Page 33
“You gave her a used scarf?” Cliff was
a little surprised—Kyle loved to make
new things for people.
“No!” Kyle returned, stung. “I gave her
SPINNING YARNS AND WEAVING DREAMS a perfectly crafted, felted, quilted baby
blanket made of the best materials
that cost me most of my allowance.
She wanted the ratty old scarf that had
H
ello Grumblefloof— “It was the first thing I knitted,” Kyle
“ what are you doing with
that?” The fluffy grey
said, fondling Grumblefloof’s ears.
“My parents used to sentence us…
them.”
Cliff laughed—he sounded a bit
miffed. “So, Ally kidnapped it for a
cat ignored Cliff and um… send us to my grandparents’ couple of years—I understand.”
continued to drag the house for a month during the “Well, yes—and then I made her a
frayed and tattered piece of knitting summer holidays. I was running favourite jumper, and that became
across the hallway floor. about, driving gran mad one day, her best thing, and my sister was
“What even is this thing?” Cliff asked, and she sat me down and showed going to throw this out the last time I
tugging at it gently. me how to cast on. I remember, I got was there.”
Grumblefloof growled and dug his so excited about it, I just kept going “She can’t throw that out!” Cliff said,
claws into the knitted… whatever it and going and going. She stopped appalled. “It’s beautiful!”
was, wrapping his paws around it me, and showed me the knit stitch. I “It’s hideous!” Kyle returned, laughing.
and flopping on his side, clutching the finished the scrap of yarn she’d given “But it’s very… you know. Useful. A
thing to his chest and purring. me, and she started pulling out other scarf, a wrap, a dressing table cover, a
Apparently it was precious, and leftover odds and ends just to keep curtain, a baby blanket—it’s been all
nobody but Grumblefloof should have me busy—see?” He pointed to the those things, right?”
it. Cliff understood now. joins in the middle of the work. “I tied
them together. She taught me how to They both looked down at their
“Kyle,” he called to his fiancé, who weave in my ends later.” beloved half-grown kitten. “Well,” Cliff
was knitting in the living room. “And you just kept knitting?” Cliff said, bending down to scoop up both
“Yes, love?” asked, enchanted. cat and thneed, “Now it’s a cat bed.”
“Your cat is insane.” “Well, yes.” Kyle stood. “At the end of He carried them both to the cushion
“Uh oh…” the summer she showed me how to in the living room and set them gently
“No, really—come and look!” cast off, and then gave it to me.” down. Grumblefloof continued to hug
Kyle came into the hallway. “Aw…” the ‘scarf’ to his chest, purring, and Cliff
he said, crouching down by He laughed. “I asked her what it was looked at him fondly. The cat had taste,
Grumblefloof. “Kitty. What’d you and she said, ‘a scarf, love. You can apparently—his choice of comforter was
find there, champ? Did you get the wear it when the weather gets nippy.’” both full of colour and full of history—
thneed?” “Did you?” Obviously Cliff hadn’t and now the cat was a part of it.
“The thneed?” looked at nearly enough of Kyle’s Cliff scratched Grumblefloof behind
“Yes—it’s from Dr. Seuss: “A Thneed’s childhood pictures. the ears and was rewarded by a kitty
a Fine-Something-That-All-People- “Oh, I did—and then I got better and smile—and a bit of inspiration.
Need!”*” learned different techniques and “Here,” he said, kissing Kyle’s cheek.
“Did you make that?” Cliff looked made a better one. I used this one in “You go and listen to your book and
doubtfully at the fringed ‘thneed’ my window at home to block the sun knit—I’m going to rifle through the
clutched in Grumblefloof’s paws. in the summer, or for a bit of warmth stash.”
It was a pretty large item—maybe on my bed when it got cold.”
six feet long by two and a half feet “You didn’t have it with you at uni!” He came back with six of his favourite
wide. Made with a variety of colours Cliff remembered. Kyle had brought hand-dyed balls of 4-ply yarn, and
in 4-ply yarn, it was a scrap project a blanket his grandmother had made one ball of black. Humming to
of some sort. Kyle’s work was to university. He had fond memories himself, he sat down on the couch
usually much more detailed than of cuddling under that thing and next to Kyle and began to cast on.
that. He was adept in stitchwork and watching television together. “What are you making?” Kyle asked,
colourwork—this looked to be all curious.
garter stitch. “No—see, by then, Ally had been born.” Cliff kissed his cheek. “A thneed.”
*The Lorax, Dr Seuss
t
Page 34 YARN Issue No 59
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rie@thewriteimpression.com.au
0412 791 306
www.TheWriteImpression.com.au
Order at www.artwearpublications.com.au
www.ar twear publications.com.au Issue No 59 YARN Page 35
A Drop Stitch Original Design.
Not for commercial reproduction.
For assistance with patterns,
contact Drop Stitch Designs
jennyoccleshaw@hotmail.com
www.dropstitchdesign.com
Stripe Pattern
1st row: CC, Knit.
2nd row: CC, Purl.
3rd row: MC, Knit.
4th row: MC, Purl.
Measurements
3 months (6 months, 12 months)
Chest Measurement: 38cm (40cm 42cm),
Length shoulder to waist:
30cm (33cm 36cm).
Tension
28 sts and 38 rows to 10cm measured
over stocking st on 3.25mm knitting
needles.
Back
Using 3.25mm knitting needles and MC, cast
on 58(62,66) sts.
Work 4 rows garter stitch.
Work in st st until work measures 16(18,20)
cm from cast on.
Shape Armholes
Remainder of top is worked in garter st in
stripes of 2 rows MC, 2 rows CC.
On the third row of garter st begin armhole
shaping:
Cast off 10(11,12) sts at beg of next 2 rows. 38
(40,42) sts.
Continue in garter stitch stripes until work
measures 10(11,12)cm from armhole shaping.
Shape Neck
Next row: K14, cast off 10(12,14) sts, knit to
end.
Cont on these 14 sts for first side of neck.
Cont in garter st stripes until strap measures
13(14,15)cm from armhole shaping.
Next row (buttonholes): K4, yfwd, K2tog, K3,
yfwd, k2tog, K3.
Cont until strap measures 14(15,16)cm from
start of armhole shaping.
Cast off.
Work other strap to match.
Straps To Make Up
Front Omitting buttonholes, work straps Press lightly if needed. Stitch side
Work as for back until front measures as for Back until straps measure seams using a fine back seam or
7(8, 9)cm from armhole shaping. 11(12,13)cm from start of armhole mattress stitch if preferred. Darn in
Work neck shaping as for Back. shaping. Cast off. all ends. Sew on buttons. t
Page 42 YARN Issue No 59 www.artwearpublications.com.au
...and Shorts Stripe Pattern
1st row: CC, knit.
2nd row: CC, purl.
3rd row: MC, knit.
Shorts row, then knit across sts of right leg.
57(61,65) sts.
4th row: MC, purl.
Shape Sole
Materials Row 1: K1, * K2tog,
50g ball 4-ply baby wool, K25, K2tog,* K3, rep
3mm knitting needles. from * to * once, K1.
Measurements Row 2: K26, K2tog,
K3, K2tog, K26.
To Fit: 3 - 6 months
Row 3: K1, *K2tog,
Tension K22, K2tog,* K3, rep
28 sts and 38 rows to 10cm from * to * once, K1.
measured over st st on 3mm Row 4: K23, K2tog,
knitting needles. K3, K2tog, K23.
Row 5: K1, *K2tog,
K19, K2tog,* K3, rep
Boot Divide for Top of Foot from * to * once, K1
(make 2 alike) Next row: K28, turn, p15, turn. Row 6: Cast off.
Begin at Cuff. Using 3mm knitting On last 15 sts, work 22 rows. Break Make another boot to match.
needles, cast on 42 sts. yarn.
Work in K1, P1 rib for 6cm, dec one st With RS facing, pick up 11 sts To Make Up
at the end of last row (41 sts). alongside of foot, 15 sts from toe, 11 Join leg and under foot seam. Darn in
Work 4 rows in st st. sts alongside of foot and 13 sts on any loose ends.t
www.artwearpublications.com.au Issue No 59 YARN Page 43
Page 44 YARN Issue No 59 www.artwearpublications.com.au
Versatile Top
This top is so versatile! Not only can it
be worn many different ways, but the
design is EASY to adapt to suit anyone,
from a child to the largest adult!
BY ELAYNE WATSON
Measurements
Measure around your hips and divide
the measurement by two. That is
the size of the Granny Square panel.
Make two panels—one for the front, DOUBLE CROCHET
and one for the back. BACK LOOP ONLY
RIBBING
Granny Squares Ch21 Ribbing
Row 1: Skip the first chain, 1dc
Make whatever Granny Square you
into each chain to the end. Count
choose with whatever yarn you Granny
carefully and don’t miss the last Granny square
choose and in whatever colour or square panel
chain. 20 sts. panel
colours you choose. Mine were front
Row 2: 1ch, 1dc into the back back
made using Shelley Husband’s
loop only of each dc from
‘Shine with Hope’ pattern which
previous row. 20 sts.
she published especially to raise
Rep Row 2 until the ribbing is
money for the Australian Bushfire
the length you want.
Relief. Unfortunately, she retired
To join: dc into the back loop
the pattern to publish it in her next
only of each st in the starting
book of granny squares which will
chain. Ribbing
come out sometime next year—but
ANY granny square will do from the
simplest to the most complicated. squares and the back squares into
two separate panels. Make two circles of ribbing—one for
the top and one for the bottom.
Make four squares to a side, as I have
done, or nine smaller squares, or one The border Attaching the borders
big square for each panel. You could The ribbed border can be made as
even do a large square in the middle wide as you like. Mine was 17cms, Fold the ribbed circle in half and pin
and surround it with smaller squares. but anything from 10 to 20 cms evenly to one edge of the front.
It’s ENTIRELY up to you, as long as would be fine. The border should Join the ribbing to the front panel in
they add up to the measurement you be able to fit around your hips whatever way you choose. I joined the
need. You can crochet the squares (as comfortably. Once again, the pattern pieces using simple double crochet.
I have done), or you can knit them. you use for the ribbing can be Continue by joining the back panel to
Again, this is entirely up to you. That whatever you like as long as it has the ribbing in the same way. Repeat
is how versatile the pattern is! some stretch to it. Knit or crochet it this process with the ribbing at
as one long piece, and join the piece the other end of the front and back
Joining into a circle. There are many stretch panels.
stitches you can use. Knitting has
Join the completed squares together
in whatever way you wish. You can a variety of ribbing techniques— Finishing off
sew them, crochet them, or join them simple rib, 2x2 rib, 4x4 rib etc. If you wish, you can crochet a border
with a flat stitch as I have done. There There are also some great ribbing around the left and right sides of the
are many videos on YouTube which techniques in crochet. I used the panels (A to B to A on the diagram).
show you how to join crocheted ‘double crochet back loop only’ stitch I crocheted a single row of double
crochet in black for the border.
granny squares. Join the front (above).
t
www.artwearpublications.com.au Issue No 59 YARN Page 45
Wrap-n-Stack
I have used recycled cardboard sticky finely if needed and then, using a
tape rolls (in different widths) for suitable undercoat or gesso, paint all
this sample (Fig 1) but you could also the surfaces. Leave the rolls to dry
use PVC piping in varying diameters thoroughly.
2
to alter the vase size and strength.
Select the yarns you would like to
Post rolls are also good and come in a use. I suggest that to start with, for
variety of sizes. Vary the number and the size shown, you do not use a
thickness of the rings and finishing very fat, chunky and irregular yarn.
decorative touches to produce unique Experiment before starting, to see
results. I cut a 1.5 cm section off if your yarn is suitable. Once your
the end of one of the wide rolls for overall colour scheme has been
variation in width, giving me five roll decided, find a paint colour that will
sections altogether and then sanded go with your yarns and apply two
all rough-cut edges. coats to all the rolls inside and out
(Fig 3). Leave to dry well and then 3
I thickened one wide roll by finely sand if required.
wrapping thick string around it TIP: If you prefer to design your
(Fig 2). I then wound the same string Using a piece of strong card, draw colour and pattern layout before
around the thin roll (this time, in the the internal diameter of the roll and winding, paint your proposed
same direction as the wool). This cut out the circle accurately. This design/colours onto the card rolls
thickening gives a slight increase in will form the base of the vessel. in place of a base colour, then all you
width on the vase. Check that this circle fits into the roll, have to do is copy it when winding!
This project assumes that you will allowing space for the yarn. Seal and In fact you can even paint the cutting
use empty tape or postal rolls, and cover both sides of this card circle lines onto a roll, then colour it, and
preparation techniques are given with black or co-ordinated felt. Trim then, once you are happy with it,
with that in mind. and set aside. cut it! You may need to touch up the
paint if you do it this way.
You now need to decide how you
Preparation will wind your yarn colours—for
Peel off any remaining tape and example, do you want each roll to
then use any all-purpose sealant to have a different single colour, or do
seal the entire roll inside and out. you want blended yarns and colours
When dry, give it a second coat. on each roll? (Fig4). Obviously, these
This ensures no moisture gets into decisions will alter the look of the 4
the cardboard over the years. Sand finished project.
www.artwearpublications.com.au Issue No 59 YARN Page 47
6
5
Vessel
Coat a small section of the
inside of the first roll with
PVA glue to hold the start of
the yarn, and let it dry a little.
As I wound, I applied a light
coating of glue on the inside,
outside and edges of the roll,
just ahead of where I was
10
working. This holds the yarns
in place, especially where they
cross over, start or finish. To
finish off, glue the yarn inside
the roll and trim.
After you have wound one or
Page 48 YARN Issue No 59 www.artwearpublications.com.au
two rolls, lay them next to one another glue around the edges. Slip this into have done here, make the vessel
and then decide on variations for the the base of the vessel and gently but and then think about decoration!
other rolls (Fig 5). Wind all remaining firmly push it about half a centimetre Both methods are equally valid
rolls. Experiment by placing them into the roll (Fig 8). Make sure the approaches.
on top of each other until you find a base is level and set it aside to dry.
design that you prefer (Fig 6). The finished vessel is shown in fig 11.
Your vessel is now ready to embellish I then added some fancy, purple yarn
Use PVA glue to join the wound rolls (Fig 9). You have endless options around the top ring on the bead level
together. Be generous but do not use for embellishment, including fine (see fig 12).
so much that it squeezes out to the beading, embroidery or chunkier
outside of the vessel! Make sure the decorations if you prefer. Your yarn, An endless variety of different vessels
rolls are straight and the colours colours and winding patterns will can be made just by altering cuts and
look good together and then very determine what your vessel needs yarns (fig 13, 15). The very random
carefully, place a weight on the top for embellishment. You may prefer and crooked cutting method for
and leave to dry. to leave it plain. Decisions, decisions, this vessel is shown in fig 14. Unlike
decisions! I first tried clumps of the straight cut method you cannot
Check that the weight is centralised, three or four seed beads scattered usually rearrange them as their
otherwise your vessel may end up randomly over a section (Fig 10) then irregular shapes key them together.
looking like the leaning tower of I decided that I preferred larger and You can stack them in a crooked
Pisa! You may like the lean of course, chunkier decorations. fashion to create a crooked vessel but
but it’s best to design it that way You could use large beads, tassels or it requires a bit of planning before
deliberately! Smaller vessels can be found objects. You could, of course, you cut! Whatever cutting method or
made in the same way (Fig 7). plan your vessel to highlight special shape you use, you must always seal
Now, take your felt covered circle and decorative items rather than, as I t
the card if you want it to last.
15
13
14
Knitting in The Peruvian Highlands This lovely book explains what this mission looks like
Nilda Callañaupa Alvarez and in practice. It has contributions by many of the young
the weavers of the center for weavers of the area, and is filled with vibrant photos of
traditional textiles of Cusco the women and their work.
Thrums Books, 2017
The creation of textiles is one of the oldest activities of
$17.25 USD
any culture, and the textiles that are created constitute an
ISBN: 0998452351 excellent way of identifying where someone comes from.
The patterns in the textiles tell the story of their history
and mythology as surely as any written records. This book
provides instructions for various techniques, but it also
If it weren’t for COVID-19, I would have been travelling
tells us why the techniques are practised, the history of
to Peru to visit Machu Pichu. I had booked a day with the
the technique and the stories that are intertwined with
local spinners, weavers and dyers of the Cusco region.
the textiles.
I bought this book so that I could find out as much as I
could before I went.
The book has four sections: spinning, weaving, knitting
and finishing. In each section, we learn fascinating
The Centro De Textiles Tradicionales Del Cusco is a
differences between the traditional techniques and those
non-profit organization that was founded in 1996 by
with which we are familiar.
indigenous weavers of the Cusco region. Its mission is
to, “promote the empowerment of weavers through the
The first nations people around Cusco spin using a pushka
sustainable practice of Peruvian ancestral textiles in the
or hand spindle, a pukhu or supported spindle, and a
Cusco region. Through workshops, opportunities, and the
mishmi or single stick spindle. The fine, even yarn is
promotion of their textile art, the CTTC enables weavers
testament to their skill. Women from childhood to old age
spin yarn from alpaca, llama and sheep. They hand ply it
and dye it and use it in their weaving and knitting.
BOOKS
weaver, but I would have enormous trouble following their
complex designs instructions. I am filled with respect for
the women who do this as part of their daily lives.
ee
Frcatalogue finish their garments—with tubular borders, seams,
embroidery, tassels, pompoms, watanas, braids—all
of them requiring skill and creativity. The meticulous
finishes are supposed to protect the garment and the
Contact us for wearer from harm.
a free catalogue.
This is a fascinating book, but, having tried some of the
techniques, it is one that I think I will use for information
39 Clifford Street, Huntingdale VIC 3166 rather than instruction. I am looking forward one day
Tel: 1300 308 261 to travelling there and spending a day or two with these
Email: info@candobooks.com.au
women watching and learning from them. - Rie t
Page 50 YARN Issue No 59 www.artwearpublications.com.au
www.ar twear publications.com.au Issue No 59 YARN Page 51
Stitch guide
KNIT STITCHES ABBREVIATIONS Common Crochet Symbols CROCHET CHART
Crochet term conversions
CROCHET CHART
*, ** repeat directions following * or ** as many (US terms)
times as indicated
Australian/
Australian/ Symbol
Symbol US term
US term
alt alternate
UK term
UK term
CC contrast colour
chain (ch) chain (ch)
continue chain (ch) chain (ch)
cont
cn cable needle slip stitch (sl st) slip stitch (ss)
slip stitch (sl st) slip stitch (ss)
cm centimetre(s)
double crochet single crochet (sc)
dec(s) decrease(s)/decreasing double crochet single crochet (sc)
(dc)
(dc)
dpn(s) double-pointed needle(s)
foll following half treble (htr) half double
half treble (htr) half double
increase(s)/increasing crochet (hdc)
inc(s) crochet (hdc)
treble (tr) double crochet
g st garter stitch: k all rows (back and forth); in treble (tr) double crochet
(dc)
rounds, work 1 round knit, next round purl (dc)
double treble treble (tr)
double treble treble (tr)
K, k knit (dtr)
(dtr)
k2tog knit 2 sts together (decs 1 st; a right-leaning dec)
triple treble double treble
kfb knit into the front and back of the same st triple treble double treble
(ttr) (dtr)
(increases 1 st) (ttr) (dtr)
metre(s)
m front post front post double
front post front post double
m1 make 1 (raised increase) treble (fptr) crochet (fpdc)
treble (fptr) crochet (fpdc)
make 1 leaning left
m1L
back post treble back post double
m1R make 1 leaning right back post treble back post double
(bptr) crochet (bpdc)
(bptr) crochet (bpdc)
MC main colour
mm millimetre(s) start of work start of work
start of work start of work
purl
P, p
fasten off bind off
Patt pattern fasten off bind off
PM, pm place marker direction of direction of work
direction of direction of work
psso pass slipped stitch over work
work
p2tog purl two sts together.
back loop only back loop only
pw purl wise back loop only back loop only
Rem remain/remaining front loop only front loop only
front loop only front loop only
Rep repeat
right side
RS
slip 1, knit 1, pass slipped stitch over
skp
Sl, sl, s slip
YARN CONVERSION GUIDE
Sm, sm slip marker Australian Ply Equivalents USA CYCA Wraps per inch Approx. needle Sts to 10cm (4”) Approx. Aust/UK dc,
ssk slip, slip, knit the 2sts tog (left leaning dec) described as number size in stocking st crochet hook CYCA sc to
st(s) stitch(es) size 10cm (4“)
st st stocking stitch: k one row, p one row (flat); k Single, very fine
all rows (circular knitting) 1 ply weight, cobweb None as yet Over 24 No standard No standard* No standard No standard
3.75mm 5 9
8.00mm 11 0
* The 1 & 2 ply yarns are normally used for open worked, lace patterns so the stitch count and needle size can vary
4.00mm 6 8
tremendously depending on the project.
9.00mm 13 00
4.50mm 7 7 ** Steel crochet hook sizes may differ from regular hooks.
This table compiled by Michelle Moriarty, referencing various encyclopaedias, USA CYCA Standards, Knitpicks,
5.00mm 8 6 10.00mm 15 000 Nancy’s Knit Knacks, Ravelry and in consultation with Amelia Garripoli. © This table is copyright to Yarn Magazine.
Can Do Books . . . . . . . . . . . . . . .50 knitalpaca . . . . . . . . . . . . . . . . . .13 The Write Impression . . . . . . . . .35 World Wide Digital Distribution by GGA www.
pocketmags.com.au
CraftAlive. . . . . . . . . . . . . . . . . . .19 Knit Spin Weave . . . . . . . . . . . . .56 Vintage Made . . . . . . . . . . . . . . BC
Please address comments, letters, and enquiries
Digital Issues Artwear Publications Lynda Anne . . . . . . . . . . . . . . . . .55 Virtual Exhibition. . . . . . . . . . . . .35
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PO Box 469, Ashburton, VIC 3147.
Acknowledgements YARN is an independent Australian publication Tel +61 3 9888 1853
The production of this All contents © YARN Magazine 2020. The
ArtWear Publications P/L has taken reasonable steps to ensure
magazine would not be possible purchaser of this magazine may make a single
that the copyright of each article or project resides with the
without the dedicated Yarn copy of any pattern contained within for personal
contributing author. We secure from each author a warranty
contributors who designed the use only. Please do not give copies to your friends.
stating such, or that the author has obtained all necessary rights, Contact us to talk about reproductions, including
patterns and wrote the articles.
licences and permissions such that publication will not infringe intended sale of items made from patterns within
Thank you for contributing to
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ArtWear Publications P/L relies on these warranties when obtaining permissions or about this policy, please
Thanks must also go to Bob contact us at the address above.
Natalenko, Wendy Knight, asserting that the copyright is owned by the authors. Instructions
Andromeda Lembo, Lynda for the published projects have been checked for accuracy and YARN ® is a registered trademark of
Worthington, Kylie Albanese are published in good faith. We cannot guarantee successful ArtWear Publications P/L
and Michelle Davies for their results and offer no warranty either expressed or implied. All Ashwood, VIC.
extraordinary effort. Thank companies and brands mentioned are included for editorial
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Here are a few of the letters we received…
Please let us know what you think about the magazine!
Write to Rie at yarneditor@artwearpublications.com.au
PUBLICATIONS
Hi Jackie! Needle felting takes a
bit of practice, but I know that
Reena Harwood, who wrote the
instructions for the lovely butterfly,
Hi Rie!
Joan Meade, who
featured as your oldest
knitter in issue 54
(Diversity), celebrated
her one hundredth
birthday and this is
her latest rug—which
was sewn together and
returned to her to show at a family gathering. Stephenie
Milne
Hi Stephenie!
The rug is amazing! Well done, Joan! Please wish her happy
birthday from everyone at Yarn magazine! Thank you for check out
letting us know :) Hugs (with appropriate social distancing)
~ Rie. t www.artwearpublications.com.au
Page 54 YARN Issue No 59 www.artwearpublications.com.au
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www.ar twear publications.com.au Issue No 59 YARN Page 55
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