000 INTRODUCTION
PATTERNS 000 B I G BU T TO N C OW L 000 WA R M H A N D S S C A R F 000 S QUA R E A RC H E S 000 H O O D E D C OW L 000 S TAC K E D N E C K L AC E 000 M E R M I T T E N S
TECHNIQUES
THREE DIMENSIONAL K NITTING
O N A N D O FF
000 I N T RO D U C T I O N
000 I N T RO D U C T I O N
000 C O M B I N E S T I TC H E S
000 B AC K WA R D LO O P
000 D I V I D E S T I TC H E S
000 O P E N T U B E C A S T O N
000 P L E AT S
000 T U BU L A R C A S T O N
000 V E RT I C A L T R AV E L I N G
000 LO N G TA I L & R E V E R S E
000 F O L D E D H O R I ZO N TA L
000 P U L L E D H O R I ZO N TA L
LO N G TA I L
000 YA R N OV E R C A S T O N
000 U P WA R D P L E AT S
000 C RO C H E T P ROV I S I O N A L C O
000 T U C K P L E AT S
000 T U R K I S H C A S T O N
000 T U B E P L E AT S
000 T U BU L A R B I N D O F F
000 S T I TC H PAT T E R N S
000 T H R E E N E E D L E B I N D O F F
000 S H O RT ROW S
000 K I TC H E N E R G R A F T
000 W R A P A N D T U R N
000 D I V I D E D R I B G R A F T
000 J A PA N E S E H E M S A N D C A S I N G S
000 L I T T L E B I A S P O N C H O
A DD A N D SU BTRAC T
C O N TINUOUS K NITTING
000 RU C H E H AT A N D C OW L
000 I N T RO D U C T I O N
000 I N T RO D U C T I O N
000 S L E E P S H A D E S
000 L E A N I N G I N C R E A S E S
000 C A P S ( C O N T I N U O U S LY
000 S I M P L E F O L D S C A R F
000 S P E E D I N C R E A S E
000 F O L D E D B AG S
000 YA R N OV E R I N C R E A S E
000 F R I N G E D C A B L E C OW L
000 L E A N I N G D E C R E A S E S
000 RO C K I N G R I B W R A P
000 C E N T E R E D D O U B L E
000 S I M P L E H AT 000 FA N C Y M A R K E T B AG 000 R I P P L E V E S T 000 O P E N TO E S 000 T I L D A H AT 000 H I G H P RO F I L E V E S T 000 3 D H E A D B A N D S
000 D I M P L E D C OW L 000 T W I S T S L I P P E R S 000 M Y T I E C A R D I G A N
APPLIED PIECES)
000 S T R I N G S O F U N I T S 000 L AY E R E D U N I T S 000 V E RT I C A L BU T TO N H O L E S
DECREASE
000 S T I TC H PAT T E R N S
000 M U LT I P L E L AY E R D E C R E A S E S
000 P I C K - U P S 000 T U BU L A R K N I T T I N G 000
A B B R E V I AT I O N S A N D D E F I N I T I O N S
000
YA R N S O U R C E S
000 ACKNOWLEDGEMENTS
LY N N E B A R R
INTRODUCTION
ith over seven thousand members in the designers group on Ravelry, it’s clear that I’m far from alone in my love for creating things from knitting. For me, the most inspiring way to broaden design is to explore new techniques, and work to gain proficiency in them. Learning something new removes me from the tendency to use routine formulas. To be creative in an innovative way, I need to step outside my comfort zone, perhaps by trying something novel or approaching my work from a different direction.
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And even when I want to just kick back and settle down to knit from an existing pattern, my experience can be greatly enhanced by my expanded repertoire of techniques. This is my third book for STC Craft (an imprint of Abrams Books), and like the others—Knitting New Scarves and Reversible Knitting—it also is technique-driven. The focus of The Shape of Knitting is on the special three-dimensional quality inherent in knitting, which makes it possible for us to create unique textural fabrics and shaped garments or accessories. Along with the traditional techniques I find most useful for shaping, I share my new discoveries of how to create layered dimensional shapes using one continuous yarn instead of piecing together separately knit parts. The Shape of Knitting is divided into a collection of twentytwo patterns and four technique chapters: On and Off, Add and Subtract, Three-Dimensional Knitting, and Continuous Knitting. In On and Off and Add and Subtract, I focus first on cast-ons and bind-offs, then increases and decreases. For these sections, I chose to include techniques that cover a range of applications, from easy general purpose to more specific, such as provisional, double-edged cast-ons and tubular bind-offs that aid in three-dimensional shaping. In Three-Dimensional Knitting, I focus on techniques employed less commonly than increases and decreases to shape the body between cast-ons and bind-offs, as well as pleats and folds. The chapter on Continuous Knitting includes a novel technique that uses a single, unbroken strand of yarn to work shapes that have typically relied on attaching multiple strands.
Sometimes my discovery of a new technique comes from searching for a way to knit a shape I already envision; and sometimes I start with an existing technique and play with it until something new emerges. I developed the new techniques CAPS (page 000), Upward Pleats (page 000), Yarnover Cast-On (page 000), and Speed Increase (page 000) specifically for projects I had already visualized for this book. CAPS, an acronym for Continuously Applied Pieces, is an easy technique that makes it possible to knit complex three-dimensional shapes with one continuous yarn. I came up with it when looking for a way to knit Square Arches (page 000), slippers that have three arch-shaped flaps to hold the slipper on, without having to attach additional strands of yarn for the arches. Initially I could only eliminate two tails from each arch, but after working longer with the technique, I found a way to knit the entire slipper continuously. The Speed Increase is a technique that can quickly double a large consecutive number of stitches. It’s more invisible than standard methods of increasing in every stitch. Because speed increases are made from double-looped stitches, instead of working from neighboring stitches or connecting threads, they do not pull on or warp adjacent stitches. I developed this increase so I could knit ruched fabric (Ruche Hat and Cowl, page 000) without having to camouflage increases made in the conventional way in typical garter or purl bands. As I continued to play with these new techniques, even more possibilities emerged that could be applied to other projects in the book. Speed Increase is also used in Warm Hands Scarf (page 000) and Mer Mittens (page 000) patterns; My Tie Cardigan (page 000), Big Button Cowl (page 000), and several others use the CAPS technique.
I don’t want to give the impression that I think design is exclusively about problem-solving. Every design has its emotional and intuitive components as well. We all bring our own unique histories, life experiences, and personal desires and styles into play when we create something. Inspiration isn’t always derived from things we see around us–or even from words we read or hear. Sometimes it comes from something intangible from within us. When playing with a technique, I sometimes feel like a dowser, but holding knitting needles instead of a dowsing rod to guide me toward an unknown goal. Maybe it’s similar to what freeform knitters feel. Even though I love the open, free association approach during the creative phase, I still strive for an organized, cohesive design in the end. The patterns in this book may have originated from my playful experimentation with specific techniques, but ultimately, each stands on its own with a clear, unified look. The collection is, most importantly forward-looking, upbeat, and easy to wear. I’m eager to continue exploring the potential of these new techniques as I design with them. I hope that you too will find them intriguing, and will discover ways to apply them to your own designs.
TH E SHAPE OF KNITTING
9
PAT T E R N S
BIG BUTTON COWL
ig Button Cowl was one of the first projects I created for this book and designing it felt a bit like following Alice down a rabbit hole. I used this project to explore the potential of the CAPS technique (see page 000 ) by integrating multiple sections and layered twists that are continuously connected by a single yarn. In the end, I was delighted to find that what had seemed like a twisting path turned out to be a logical course. F I N I S H E D ME ASUR EM ENTS
8" wide x 24" circumference, buttoned YA R N
Quince & Co. Puffin (100% merino wool; 100 yards / 100 grams): 2 hanks Bird’s Egg or Split Pea N E E DL E S
One set of four 10" (25 cm) long or longer double-pointed needles (dpn) size US 10 (6 mm) One set of four 10" (25 cm) long or longer double-pointed needles size US 13 (9 mm) Change needle size if necessary to obtain correct gauge. N OTI O N S
Two 1 ¾"buttons GAU G E
14 sts and _____ rows = 4" (10 cm) in K1, P1 Rib, using larger needles, relaxed STI TC H PATTE R N
K1, P1 Rib (multiple of 2 sts; 1-row repeat) All Rows: [K1, p1] to end.
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C OWL R I G H T B U T TO N H O L E F L A P
Note: There are two sets of Rows 1-20 because the Left Buttonhole Flap is worked after the Right Buttonhole Flap is complete, using the CAPS technique (see page 000). Using smaller needles and Cable CO (see page 000), CO 16 sts. Note: Slip all sts knitwise. ROW 1 (WS): Slip 1, p1, [k1, p1] to end. ROWS 2-7: Repeat Row 1. Place marker at beginning of Row 2 to mark RS. Note: Rows 8-13 work only 8 sts on right side of a 6-row vertical buttonhole; leave remaining 8 sts unworked. ROWS 8-13: Slip 1, p1, [k1, p1] 3 times, turn.
Note: Row 14 connects the two sides of the buttonhole. ROW 14: Slip 1, p1, [k1, p1] 3 times, AO-h 3 sts, [k1, p1] 4 times from next needle—19 sts. Note: Rows 15-20 work the left side of the buttonhole to the same length as the right side. ROWS 15, 17, AND 19: Slip 1, [p1, k1] 3 times, p2tog, w&t—16 sts remain after Row 19 (8 sts each side). ROWS 16 AND 18: [K1, p1] 4 times. Note: The 8 sts CO using AO-h CO in Row 20 are the waste sts that will be used to work the Left Buttonhole Flap as a CAP (see page 000); the 16 sts CO using Cable CO sts are the primary CO sts for the bottom of the Left Buttonhole Flap. ROW 20: [K1, p1] 4 times, turn, AO-h 8 sts, using Cable CO (see page 000), CO 16 sts—40 sts. TH E SHAPE OF KNITTING
13
PAT T E R N S
S TA C K E D N E C K L A C E
nitting this necklace, with its contemporary and uncomplicated design, is a quick way to learn the CAPS technique (page 000). It’s also a great way to enjoy wearing your knitting when it’s not yet cold enough for a sweater. F I N I S H E D ME ASUR EM ENTS
NEC KLACE
CABLED BAND
Approximately 3" wide x 24" circumference
R E C TA N G L E S
Bind off 4 sts, p6, k1. Slip 1 purlwise wyif, k6, p1-hw. ROW 3: Slip 1 knitwise, p6, k1. ROW 4: Slip 1 purlwise, slip 3 sts to third dpn and hold to front, k3, k3 from dpn, p1. ROWS 5 AND 7: Slip 1 knitwise, p6, k1. ROWS 6 AND 8: Slip 1 purlwise, k6, p1. Repeat Rows 3-8 twelve times. Repeat Rows 3-5 once. With WS facing, using an empty dpn, and beginning at inside edge, pick up (but do not knit) 8 sts from second row of purl bumps of first Rectangle (photo 1). Hold dpn with picked-up sts in front of working needle; using Three-Needle BO (see page 000), bind off all sts (photo 2).
YA R N
Blue Sky Alpacas Worsted Hand Dyes (50% royal alpaca / 50% merino; 100 yards / 100 grams): 1 hank Ecru or Butterscotch N E E DL E S
One set of three double-pointed needles (dpn) size US 8 (mm) Change needle size if necessary to obtain correct gauge. GAU G E
16 sts and ___ rows = 4" (10 cm) in Garter stitch (knit every row) N OTE S
Working with one continuous strand of yarn, each new Rectangle is worked next to the previous Rectangle using the CAPS technique (see page 000). Each Rectangle adds only one row to the length of the necklace.
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Using Long-Tail CO (see page 000), CO 12 sts. Knit 7 rows. ROW 1 (WS): BO 6 sts, slipping first st, knit to end—6 sts remain. ROW 2 (MAKE A RECTANGLE): AO-h 3 sts (see page 000), AO-f 12 sts, [k11, k2tog, w&t, k12, turn] twice, k11, k2tog; do not turn. Fold right-hand needle to the left, so that needles are together, with RSs together and tips pointing to the right; with third dpn, [k2tog-2n] 6 times (1 st from needle with Rectangle together with 1 st from back needle), k6. ROW 3: Knit. ROW 4: Slip 1 knitwise, knit to end. REPEAT ROWS 1-4 TWELVE TIMES.
Cabled bandtk
ROW 1 (WS): ROW 2:
1
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TH E SHAPE OF KNITTING
29
PAT T E R N S
SIMPLE FOLD SCARF
his quick and easy-to-knit scarf in chunky yarn is like three- dimensional texture on steroids. The bold fold pattern is created by a simple combination of horizontally bound off stitches followed by the same number of vertically picked up stitches. Make this scarf in the traditional rectangular style, or begin the project with a provisional cast-on and graft the two ends to create a circular piece that can be coiled around the neck. F I N I S H E D ME ASUR EM ENTS
Approximately 7 ½" wide by 60" long YA R N
Quince & Co. Puffin (100% wool; 100 grams / 100 yards): 4 hanks Bird’s Egg or Marsh N E E DL E S
One pair straight needles size US 11 (8 mm) One straight needle size US 10 (6 mm), for final BO (optional) One double-pointed needle (dpn) size US 4 (3.5 mm), for picking up sts Change needle size if necessary to obtain correct gauge. GAU G E
17 sts and ____ rows = 4" (10 cm) K3, P3 Rib, unstretched
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S CARF Note: To pick up sts perpendicular to working needle, see Pickups Away from the Edge (page 000). Sts are always picked up on WS so that BO fold of fabric will fall to RS. Using larger needle, CO 32 sts as follows: 1 st using Reverse-Long Tail CO (page 000), [3 sts using Long-Tail CO (page 000), 3 sts using Reverse-Long Tail CO] 5 times, then 1 st using Long-Tail CO. ROW 1 (RS): Slip 1 purlwise, [k3, p3] to last st, k1. ROWS 2-16: Repeat Row 1. ROW 17: BO 9 sts in pattern, turn to WS and pick up 9 strands down the length with the dpn (see Pick-Ups away from the Edge, page 000) (photo 1). With working needle, work sts on dpn through back loops as follows: P2, k3,
p3, k1 (photo 2). Turn and slip 9 sts just worked plus last st from BO onto dpn. With empty needle, work sts on dpn as follows: Slip 1 purlwise, k3, p3, k3 (photo 3), then work across next needle as follows: [P3, k3] to last 4 sts, p3, k1. ROWS 18-27: Slip 1 purlwise, [k3, p3] to last st, k1. ROW 28 (WS): BO 9 sts in pattern, pick up 9 strands down the length with dpn. With working needle, work sts on dpn through back loops as follows: P2, k3, p3, k1. Turn and slip 9 sts just worked plus last st from BO onto dpn. With empty needle, work sts on dpn as follows: Slip 1 purlwise, k3, p3, k3, then work across next needle as follows: [P3, k3] to last 4 sts, p3, k1.