KNITmuch | Issue 13 by A Needle Pulling Thread

KNITmuch a raspberry beret · wrap · cowls · socks · pullovers

* The many ways of measuring yarn * Combining 7 different colors on a knitted sweater

...to K, is to

Issue 13

KNITTING with

Colorburst Odette Penna

* Consistency in pattern when working in the round * Matching the right pattern with the right yarn * Designing a men's sweater vest * Making a steeked V-neck

WHICH MEASUREMENTS MATTER IN DESIGNING A MEN’S SWEATER VEST?

KNITmuch

...to K, is to

EDITOR-IN-CHIEF, ART DIRECTOR Carla A. Canonico Carla@KNITmuch.com ADVERTISING SALES John De Fusco John@KNITmuch.com PUBLISHER A Needle Pulling Thread PHOTOGRAPHERS John De Fusco, Carla A. Canonico, Contributors BLOGGERS/CONTRIBUTORS Fiona Stevenson Ravelry: fionastevensondesigns Cindy O'Malley cindooknits.blogspot.com Charles Voth charlesvothdesigns.ca Cynthia MacDougall cgknitters.ca GRAPHIC DESIGN Carla A. Canonico Carla@KNITmuch.com Sondra Armas Sondra@KNITmuch.com SOCIAL MEDIA and WEB Sondra Armas Alejandro Araujo WEBSITE / BLOG : KNITmuch.com Like us on Facebook : KNITmuch Follow us on Twitter : @KNITmuchmag WHERE TO GET YOUR COPY KNITmuch is a quarterly eMagazine published by A Needle Pulling Thread. It is available free for personal use online at KNITmuch.com. A limited number of printed copies of KNITmuch are available for purchase at select yarn shops and specialty stores. Ask for it at your local shop. KNITmuch is not available by subscription.

YARN SHOPS If you are interested in carrying KNITmuch in your store, please email John@KNITmuch.com.

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KNITmuch | issue 13

EDITORIAL Bloggers, designers and other contributors who would like to be considered for future issues please email Carla@KNITmuch.com with a brief description of your work and your proposed project. ©2021 KNITmuch. All rights reserved. Issue 13. ISSN 2368-5913. No part of this publication may be reproduced without written permission from the publisher. All designs, patterns, and information in this magazine are for private, non-commercial use only, and are copyrighted material owned by their respective creators or owners.

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Knit Together - The Many Ways of Measuring Yarn

Light and feathery Odette has the grace and elegance of a swan Various swatches disclose the chameleon qualities of Odette yarn The challenge of combining 7 different colors on a knitted sweater The strength and beauty of Odette make a perfect pair of socks Leftover yarn from the sweater makes a warm and cushy cowl Textured washcloth in Cotton Supreme Oodles of noodles with crisscrossed ribbing in Bella Chenille yarn Not knit nupps nor knots: buds are the alternative stitch! Taking Bamboo Pop yarn for a “bumpy” ride Feathery soft knitting with Penna Knitting swatches in keeping with an open and airy look Consistency in pattern when working in the round Combining Penna with another yarn makes for endless possibilities Elegance when matching the right pattern with the right yarn Designing a men’s sweater vest using Universal Yarn Colorburst Which measurements matter in designing a men’s sweater vest? Calculations for a men’s Colorburst sweater vest Colorburst looks best with a steeked V-neck Designing those just-right finishing touches on the Colorburst vest Standard yarn weights, abbreviations and terms

c o n t e n t s KNITmuch | issue 13

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KNITmuch | issue 13

editor's

letter Can you feel the season turning? Just yesterday a long standing heatwave ended, and suddenly it feels more like fall. This can only raise one question: Am I ready for the colder months ahead? The answer is now on my knitting needles! I'm very close to finishing a cardi I'm knitting for myself that was inspired by Cynthia MacDougall's extraordinary Tilted Maple Leaf Henley from Issue 55 of A Needle Pulling Thread magazine. It is a stunning piece, but I'm very sure I wouldn't wear a Henley - it's just not my style. But as knitters we have such freedom to alter and adapt the patterns we want to knit into

I hope this letter finds you in good health.

garments we are sure to wear. So, with pencil and paper in hand, I checked the numbers in the leaf chart and in the cardi pattern to find out that I could only place the full leaf on the back, since the cardi fronts had too few stitches. I'm okay with that. Cynthia did a fantastic job in charting that leaf! In this issue is a chance for you to learn how patterns can be created and/or adapted to your body type. See Charles Voth's feature on designing a men's sweater vest and what to know every step of the process. You'll use this framework for other garments too in designing for men and women. Also with Charles is a chance to try five unique stitch patterns in various yarns from Universal Yarn. Check out Cindy O'Malley's features on testing out the characteristics of Penna and Odette yarns, making pullovers and other fun to wear accessories! I'll be back in the next issue with a photo and more comments on my version of the Tilted Maple Leaf Henley/cardi, ready for the fall and winter seasons!

Cheerfully,

follow me KNITmuch | issue 13

Knit Together

with Cynthia MacDougall

The Many Ways of Measuring Yarn

A Photo by Mike Guilbault.

beginning knitter recently observed that the yarn for one of her knitting patterns was listed in yards and grams. She observed that these are two different methods of measurement and she asked me, “How do you know if the weight the pattern says will be enough to make a sweater?”

Cynthia MacDougall Canadian Guild of Knitters PO Box 20262 Barrie, Ontario L4M 6E9 705.722.6495 1.866.245.5648 (CGK-KNIT) www.CGKnitters.ca blog: cgknitters.blogspot.com ravelry name: theloveofknit

Both, yards (or meters) and grams (or ounces) are systems of measurement. Yards and meters are linear measures; grams and ounces are measures of mass. Used together, these two measures offer clues about the third way to measure yarn: thickness or grist. Grist is a broad enough topic for another article, so, this article will focus on linear and mass measurements. So much about knitting is variable. Yarn weight and yardage information in patterns are usually estimated. A difference in the tension, or gauge, will impact the take-up of yarn, and affect the amount of yarn needed to complete the project. Adjustments for the wearer – sleeve length, for example – may require more or less yarn. Substituting a different yarn than the one called for by the pattern may change the amount of yarn needed to complete a project. Some of the information on ball bands is estimated. In short, individual results may vary. Designers usually create patterns for one size and make adjustments for other sizes using a process called ‘grading.’ Unless the knitter is making the size the designer used to create the base size for the pattern, both the grams and yardage of yarn given in the pattern are estimates. Sometimes a pattern will be test-knit in more than one size, but, generally, the yarn amounts are estimated by using mathematical calculations based upon the amount of yarn used to make the sample garment.

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In most cases, the designer will overstate the amount of yarn needed to make the garment, to ensure the knitter has enough yarn to finish the project. But, if a knitter’s tension varies even as little as one-quarter of a stitch over 4 inches/10cm, extra yarn may be needed to finish the project. Knowing the approximate yardage of the yarn prescribed by the pattern makes it easier to substitute yarn, whether the substitution is due to replacing a discontinued yarn or one with a different fiber content. Different fibers have different masses. A pound of wool is larger in mass than a pound of cotton and 50 grams of wool has more yardage than 50 grams of cotton in most cases. So, if a pattern calls for 10 balls of a woollen yarn that has 200 meters per 50 gram ball the pattern calls for a total of 2000 meters of yarn. If the knitter wants to use a cotton yarn that has 180 meters per 50 gram ball, he or she can deduce that two more balls of the cotton yarn is needed to have at least 2000 meters of yarn. (Ten balls of the cotton yarn equals 1800 meters. Eleven balls has 1980 meters, which might be enough to get by, but having 2160 meters on hand is better.) Manufacturers are required to cite the accurate weight of the yarn. Yardage, however, is optional, and when it is given, it is usually estimated. Yardage was rarely cited on ball bands until the 1990s. Although it is estimated, it is useful data, nonetheless.

Historically…

Many parts of a knitting pattern – needle sizes, sleeve length, and even some details such as the placement of decreases – can be considered guidelines rather than rules. The quantity of yarn for the pattern is one of those parts. Knitting patterns are formulated on the basis of real experience plus mathematical estimates for quantities of yarn, whether these are determined by weight or length. Subtle differences in tension make a difference in the finished result. Yarn substitutions and yarn fiber substitutions vary the amount of yarn required. Patterns can – and should – be adjusted to suit the wearer. Such adjustments affect yarn requirements. The yardage on the ball bands are estimates. Each of these variables or a combination of them impact the amount of yarn actually needed to complete a project. Whatever the reason, if there is any doubt that there will be sufficient yarn for a project, purchase an extra ball – or two. Yarn shop staff often recommends this and it is good advice, not a way to improve the shop’s sales. Extra yarn can be used to make a matching hat, scarf, mittens, or a smaller project for a smaller recipient: a baby sweater or dog coat. Inquire about the yarn vendor’s return policy: some suppliers will allow a refund or exchange of unneeded yarn. If so, keep the receipt in a safe place. Regardless of the supplier's policy, the best policy for a knitter to adopt is to ensure there is enough yarn on hand to complete the project. Sources: The Romance of Weights and Measures, Viking Press, 1960 Wikipedia - information about Bradford Count and Tex Master Spinner’s Program Level 3 material, Olds College, AB Keep Me Warm One Night, University of Toronto Press, 1972

Wool was sold in bags weighed by mass, or weight. Both raw wool and the finished yarn were sold by weight. Other commodities, such as cotton, were sold in the same manner. The 1851 census for Upper and Lower Canada notes that wool was reported in pounds processed, while woven fabric was cited in yards produced. The manner in which the raw materials were marketed appears to have influenced the method for marketing yarn. Both British and metric mass measures are based on a linear measurement. The early British measure for mass was based on a cubic handwidth. A handwidth measures 3.96 in today’s inch measurement. In this system, the measure was the weight of the amount of cool water that would fit in a space of one handwidth wide, by one handwidth long by one handwidth high. The tankard was a half measure, which was known as the skale-weight. One hundred skaleweights equaled a hundredweight. Wool was sold at market by the eighth- or half-hundredweight. The metric measure for mass is also based on a linear measurement, in this case 10 centimeters. A litre is the amount of water that fits in a space 10cm wide by 10cm long by 10cm deep and it weighs one kilogram, or 1000 grams. Coincidentally, 10cm equals 3.937 inches, less than three hundredths of an inch difference from the dimension of the old English measure! About the time of the Industrial Revolution, a system to measure the fineness (or grist) of yarn was introduced in England. This new system, called the Bradford Count, was based on the number of 560yard skeins of yarn that can be spun from one pound of wool. The higher

the number, the finer (thinner) the yarn: a yarn measuring 10s (s is the abbreviation for the Bradford count – presumably it represents skeins) is thicker than a yarn measuring 30s: 30 skeins yields 16,800 yards per pound, where 10 skeins only gives 5,600 yards per pound. By using length and weight to determine thickness, manufacturers could determine how thick their finished cloth would be. Despite this, yardage remained unused in the realm of the knitter. Even when published patterns began to appear, yardage was overlooked or omitted. (See Cynthia’s article about Vintage Patterns in the Fall, 2010 issue of A Needle Pulling Thread.) In 1962, the International Organization for Standardization (ISO) adopted the Tex system as the ‘industry standard’ for measuring the thickness of threads and yarns. Tex represents the number of grams that 1,000 meters of yarn or thread weighs. Thus, a yarn that has 200 meters per 100 grams would be listed as 500 tex. With this system, the higher a yarn’s tex number, the thicker the yarn. Nm is the metric answer to the Bradford Count. It represents the number of meters spun from a gram of yarn. Knitters can use this system to great advantage: by weighing out one gram of yarn, then measuring the length of it, the number of meters per 100 grams or kilogram is a simple matter of adding two or three zeros, respectively. For example if one gram of yarn is 4 meters long, 100 grams will be 400 meters long, and a kilogram will have 4,000 meters. This is useful when working with old yarns that do not give yardages, or when working with yarns such as handspun or project leftovers that don’t have any labels at all. KNITmuch | issue 13

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Light and feathery Odette has the grace and elegance of a swan Cindy O'Malley Welcome to another exciting feature at KNITmuch, where I’ll be knitting with Universal Yarn Odette. Odette combines 61% superwash fine merino and 17% alpaca with 22% nylon for strength, creating a chained yarn that’s light and lovely. This yarn is perfect for sweaters and a multitude of accessories with a light heather and feathery halo. The name Odette is of French origin meaning wealthy. You may also recognize the name as the good or white swan in Swan Lake. Odette is available in 10 different colors of which I’ll be using 7 in this feature; Bordeaux, Rusted Orange, Picholine, French Blue, Rose Villa, Winter Wheat, and Gargoyle. The colors look intense when coiled up in their skein, but in reality, each color is very soft and muted. The intensity of each color is only revealed in quantity. If you’re wondering about Picholine, it’s an olive of French origin that is primarily used as a cocktail olive, but also used for making olive oil, which is an accurate description for the color. Each 1.75oz [50g] ball contains 241yds [220m], which really speaks to the lightness of the fiber. Chain construction means that the fibers are knitted rather than spun, resembling a crochet chain. This results in a puffy and airy strand that is filled in with the feathery halo of the alpaca.

Odette is available in 10 different colors. L-R, Picholine, French Blue, Gargoyle, Rusted Orange, Bordeaux, Rose Villa, and Winter Wheat are my color choices.

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Rated as a Light, Odette is truly a chameleon when it comes to gauge for projects. The recommended gauge is 21-23 stitches over 4”[10cm] using a US 5 – 7 [3.75 – 4.5mm] knitting needle, and 18-20 stitches over 4”[10cm] using a US F-5[3.75 – 4.5mm] crochet hook. Because of the open and airy chain construction, it will puff out when knit at a more open gauge, and compress beautifully when knit to a very tight gauge. Let’s take a close up look at an individual strand of Odette. You can see the chain construction and how the feathery halo of the alpaca fills in the gaps. As with all blended fiber yarns, the most delicate of the fibers dictates the laundry care, and Odette is no exception. Hand wash and lay flat to dry will keep your projects looking beautiful. I have some interesting and diversified projects in store for Odette! A multi-colored sweater, (7 colors to be exact), socks, (yes socks!) and a warm, funnel cowl are all on the list. Each of these projects will be knit at a different gauge using different needles to show just how much of a chameleon this yarn really is.

A close up look at an individual strand of Odette in Rusted Orange reveals the openness of the chain construction filled in with the soft halo of the alpaca.

Various swatches disclose the chameleon qualities of Odette yarn I’m knitting some swatches, initially based on the recommended gauge as discussed, but then playing with various needle sizes to see how the yarn reacts. My first project is a sweater where gauge is extremely important. The recommended gauge is 21-23 stitches over 4”[10cm] using a US 5 – 7 [3.75 – 4.5mm] knitting needle, and the sweater has a gauge of 22sts and 26rows on US6[4.0mm] and 22sts and 23rows on US7[4.5mm] needles. Based on that, I’ll start with the US 6 [4.0mm] and then use the US 7 [4.5]. This yarn is extremely light and can get caught on dry, rough hands, so make sure you use some hand lotion. But I must say, it’s lovely to knit. I tend to use very pointed needles. If my stitch isn’t true, it can get caught in the links of the chain. Easily rectified, but something to watch for, as the sooner you catch it, the easier it is to correct. 1st Swatch – US 6 [4.0mm]

My first swatch yielded 22 sts and approximately 32 rows after blocking. I love the fabric it created, both in drape and in color. The soft halo and heathered tones of the Rusted Orange are beautiful. On to the next.

2nd Swatch – US 7 [4.5mm]

The second swatch yielded 21 sts and 30 rows after blocking. The drape is still lovely and I’m happy with both swatches. Even though the row count is different from that which is called for by the sweater pattern, I think it will work out fine.

Odette swatches L US 6 [4.0mm] R US 7 [4.5mm] yielded 22sts and 32R and 21sts and 30R.

Since my stitch count was right on the money as per the yarn recommendations, I didn’t make a 4” x 4” swatch using the US 5 [3.75mm] needle but did use it during my experimental swatches. My first experimental swatch was to determine what needle size I would use for socks. I made 3 mini swatches, all in succession beginning with a 3.0mm needles, which doesn’t seem to have a US equivalent, then a US 3[3.25mm], and lastly, a US 4 [3.5mm]. I ribbed a few rows before the stocking stitch using each needle size in turn. 3rd Swatch Results

3.0mm – 8 sts = 1”, 10 rows = 1” US 3 [3.25mm] – 7 sts = 1”, 9 rows = 1” US 4 [3.5mm] – 6.75 sts = 1”, 8 rows = 1”

Photos by Cindy O'Malley KNITmuch | issue 13

2 swatches knit in succession with various needle sizes. L – 3.0, US 3 [3.25mm] and US 4 [3.5mm] in rib and stocking stitch. R – US 5 [3.75mm], US 6 [4.0mm], US 7 [4.5mm] and US 8 [5.0mm] in garter stitch an open mesh.

I’m truly amazed at how well the yarn performed when knit at a tight gauge. By knitting the samples in succession, you can really see the difference between the needle sizes. I was expecting to use the US 3 or 4 as my needles for the socks, but after this exercise, I’ll be using the 3.0mm.

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I had originally planned on making a shawl that had open mesh between sections of garter stitch. I changed my mind at the last minute, but more about that later. For my fourth swatch, I took the same approach as the sock swatch, but this time I used four different needle sizes beginning with a US 5 [3.75mm] and worked my way up to a US 8 [5.0mm]. Again, by doing the test swatches in succession, you can really see the impact of the different sized needles. The following results are approximates, mainly due to the springiness of the yarn on the open mesh work.

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US 5 [3.75mm] 22 sts = 4” garter, 11 sts = 2” mesh US 6 [4.0mm] 22 sts = 4” garter, 11 sts = 2” mesh US 7 [4.5mm] 20 sts = 4” garter, 10 sts = 2” mesh

This is when I started calling Odette a chameleon when it comes to gauge. It looks great when knit with the various needle sizes. Depending on the project, Odette seems to adapt nicely to its environment; hence chameleon. I quite enjoyed knitting these swatches, which isn’t something you hear a knitter say very often.

The challenge of combining 7 different colors on a knitted sweater I’m knitting the Olympia Pullover which is a stranded sweater that calls for seven different colors. When I first saw this free sweater pattern designed by Melissa Leapman, who is one of my favorite designers, I just had to make it. You can download the free Olympia Pullover pattern. Even though this pattern was designed for a different yarn, the gauge of 22sts over 4” [10cm] was the same that I was able to achieve yesterday with Odette. The row gauge is quite different, but for the most part, that should be okay since most instructions say to work to x” before shaping. Where I will likely need adjustments is in the sleeve cap as row gauge may come into play. This project presented a few challenges; the first being the colors. When I selected the colors from online samples, I had a plan in mind. When I received the yarn, the colors presented very differently. For example, Rose Villa looked to be very “peachy”, but in reality, it’s an off-white with peach undertones. It’s beautiful but changed my thinking when I started putting colors together. I have to admit, that the color sequence was my biggest challenge and caused the most angst. I second-guessed myself several times. If you recall in the first chapter of this feature when I mentioned that the color intensity changed when the skein was unraveled, I decided to do the same. I unraveled the seven colors and hung them up on pegs outside in the natural light. This helped me to finally decide on the sequence I would use, which ended up being very close to my original thoughts. Notice the 3rd color from the left; that’s Rose Villa in natural light.

Olympia Pullover is a free pattern designed by Melissa Leapman.

Odette yarn in Rosa Villa colorway, photo sample of online color

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Off I go knitting the back of the sweater with my choice of colors and needle size. Everything is working out fine until I come to the armhole shaping. It’s a little confusing in how it describes to bind off x sts on each side. That line is in the pattern twice, so I wasn’t sure if that was a typo or if it meant to do it twice. Based on the stitch count, I assumed twice but again, wanted confirmation as the sleeves only asked for the bind off once. Normally, I would expect them to be the same. Melissa responded to my query right away confirming that it should be done twice on the body. Odette color choices L-R Winter Wheat, Bordeaux, Rose Villa, Rusted Orange, Gargoyle, French Blue, Picholine are truly revealed in natural light.

Now that I finally decided on my color sequence, I started in detail with the pattern only to notice that there was some key information missing. The gauge stated 22sts x 26 rows = 4” in St st using smaller needles, however, it only called for US 7[4.5mm] needles. I made an assumption that the smaller needle meant US 6[4.0mm] but wanted confirmation. I sent a note to Melissa Leapman via Ravelry and she responded within minutes to confirm my assumption. I was very impressed that she responded so quickly. I’ve written to designers previously and had both good and not so good results. Some never get back to you while some others have sent a stock reply that didn’t answer my question. Thank you, Melissa for backing your designs. Take note however, the pattern link provided above does not have the typo corrected. My second challenge was the sizing. The Medium finished measurement was 37 ½”, and the Large 41 ¾”. Normally, I would make a Medium, but I wanted a little more ease than what the Medium offered, however, the Large had too much ease for my liking. If this was a fairly plain sweater, I would add a few stitches when casting on to give the finished measurement that I wanted, however, due to the colorwork involved, I had no desire to try and re-design it. The difference in sizes is 12sts, so I decided to knit the Large using a smaller needle making a tighter gauge, which should result in a finished measurement around 39”. Perfect.

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Now I’m into the colorwork section, which is a lot of fun to do. When it came time for the larger motif, I counted in the number of decreases to mark my starting point. Only I didn’t really mark it; I just put a ruler marking the spot, and proceeded to knit. Well, my ruler shifted on me and when I stopped to admire my work a few rows in, I was dismayed. No motif, just a mess. Back I went, recounted where I should be starting and marked it with a pen. Much better results. I’m not a colorwork specialist, but have knitting friends that do intricate colorwork on a regular basis. During one of our many Zoom calls, I presented my approach to one of these experts and she confirmed that I was doing the right thing. It pays to ask an expert. It also pays to admire your work often so that mistakes are caught early. The colorwork section turned out beautifully. I wasn’t sure if the muted colors would show up very well, but they do and I’m pleased. I’ve stated before that I prefer doing top down sweaters as it’s much easier to size it appropriately, especially in the sleeve length. You try it on and stop knitting when it’s the desired length. Not so with bottom up and knit in pieces. The pattern calls for the sleeve being 18 ½” for all sizes before shaping the sleeve cap. Well, I don’t believe everyone has the same arm length so I measured another sweater of mine and based it on that. Glad I did. I have long arms for my height, but not that long.

As mentioned earlier, I anticipated making adjustments to the sleeve caps due to the difference in row gauge. I originally calculated to decrease every other row instead of every row. It turns out that I miscalculated a wee bit and ended up with sleeve caps that were too big for the armhole opening of the body. I was also having a difficult time matching up the colorwork when seaming due to the difference in the bind off twice in the body and once on the sleeves. I ended up taking the caps back to the start of the decreases, binding off twice to be the same as the body, and switched to decreasing every row when I got down to 37 sts. It worked. The pattern lined up and the sleeve cap was the right size for the armhole.

The Olympia Pullover is complete and I love the heathered colors together. It’s very light and comfortable to wear. It ended up being about 38¾”, just shy of the original plan to end up with 39”. So I’m calling this a success. There is a downside to using seven colors; weaving in all the ends! I foresee doing those during Zoom calls over the next few days. I hope you picked up a few tips in this feature. Next, I take Odette in a totally different direction. I’ll be making a pair of socks to match my new sweater, which will illustrate the chameleon qualities of this lovely, soft yarn.

Now for the finishing. My area is still in lockdown, which means I can’t go to a store to select the right zipper for the front opening. I’m very particular about matching the zipper color to my work, so online shopping was not an option. I decided to do a slip stitch edge around the opening with the intent to finish it off later. As it turns out, I like it the way it is, so I may not do the zipper after all.

The colorwork section of the Olympia Pullover with the 7 colors of Odette.

My completed Olympia Pullover using 7 different colors of Odette.

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Odette in color Bordeaux is my choice for making a pair of socks.

I love making toe up socks with a short row heel for myself and some of the other women in the family. For the men, I usually stick with top down and gusset heel to leave them ample room for their larger feet. During the swatching exercise, I used a 3.0mm needle and, based on the gauge, thought it would work for socks. Truth be told, once the toe was complete, I tried it on and decided that it was too loose. So I ripped it out and started again with a US 2 [2.75mm] and was much happier with the results. Socks need to be knit at a very tight gauge for wearability and I want them to last. By the way, I’m still wearing the first pair of socks I made well over 20 years ago. The toes are getting a little thin, but still have some of leftover yarn to re-knit them. I may just do that for nostalgic reasons. It goes to show how long hand knit socks can last. My version of toe up socks is a little different than most patterns. I start with Judy’s Magic Cast On, like many toe up patterns do, but the difference for me is in the number of starting stitches and the increase rounds. Most sock patterns, whether they be toe up or top down, typically do the toe section by increasing (or decreasing if top down) 4 16

KNITmuch | issue 13

The strength and beauty of Odette make a perfect pair of socks stitches (2 on the bottom and 2 on the top) every other round. I start with 6 stitches on each needle and use 6 increases every 3rd round. The number of rounds ends up the same, but I prefer this method as it makes a rounder toe.

Judy’s Magic Cast On starting with 6 stitches on each needle and increasing 6 stitches every 3rd round

Judy’s Magic Cast On for Toe Up socks was invented by Judy Becker. It’s brilliant and there are tutorials available to demonstrate the technique for both magic loop and double pointed needles (dpns). But like most knitting techniques, others try it and come up with variations that make it even better. If you follow Judy’s original instructions, you have twisted stitches on one needle. It’s easily rectified by knitting into the back of these stitches to right them, which I’ve done for years. Then I came across some YouTube videos where people had perfected the technique by loading each

needle from left to right. The result; no twisted stitches. I’ve since retrained myself to load my needles left to right instead of inside out. Like I said, it’s not a big deal, but it’s a great example of how this craft evolves. How long should you make each foot? The sock should stretch over your foot, but the amount of stretch depends upon how you knit. If knit very tightly, it won’t stretch as much as when knit a little looser, or loose (don’t want loose). Too much stretch will affect the wearability as will when knit too loose. I aim for ¾” – 1” shorter than the actual foot length. If you’re making socks for yourself or someone you have access to, you can measure the length of the foot. If you’re making socks for someone else and ask “how long is your foot?”, they’ll respond by saying they wear a size 7.5 and 8 in boots. Not very helpful. I use a website (Softmoc) that has a conversion chart for shoe sizes to inches and centimeters for all ages and genders. Shoe manufacturers often vary in sizes, so the chart serves as a guideline only to the length of each recipient’s foot. Socks don’t need to fit exactly like a pair of comfortable shoes; socks should be smaller so they fit snugly on the person’s foot.

By referencing this chart, I have a better feel for the targeted finished length of the foot – I aim for 1”, and no less than ¾” smaller than the actual foot length. The other consideration for toe up socks is the cast off technique. A conventional cast off tends to be restrictive when putting the sock on or off. The solution is to use a stretchy cast off method. I like to use Jeny’s Surprising Stretchy Cast Off of which there are many YouTube videos available, however, I’ve described the technique in the pattern instructions. You’ll notice in the instructions to do a Yarn Round Needle (YRN) instead of a regular Yarn Over (YO) for the knit stitches. A regular YO tends to make the cast off edge flair out, while the YRN doesn’t. Another technique of note is picking up the wraps on the short row heel when doing the purl stitches. I use my right needle to pick up the wraps from the right side of the work and place it on the left needle in front of the stitch. When you purl them together, the wrap disappears on the right side. If the wrap(s) is behind the stitch on the left needle, it will be visible when purled together with the stitch.

This pattern is written for magic loop. I gave up on dpn’s many years ago after losing several needles through the boards of my back deck. Since switching to magic loop, I’ve never looked back. I call this pattern the Spiral Toes Waffle Socks. The spiral toes are based on my method for toe increases, but the waffle stitch is a great TV knitting technique for socks, and looks spectacular with the heathered, feathery look of Odette. For the Spiral Toes Waffle Socks, you will need: materials

yarn

• 2 skeins of Odette in color Bordeaux needles • US 2 [2.75mm] circular needle in 32” for magic loop, or double pointed needles notions • tapestry needle to sew in ends gauge 32sts x 40 rows = 4”[10cm] Sized to fit average woman’s foot, easily adapted to make smaller or larger by a multiple of 4 stitches. abbreviations

K: knit

M1: make 1 st P: purl rem: remaining st(s): stitch(es) wandt: wrap and turn YOP: yarn over purlwise YRN: yarn round needle

Waffle Stitch Pattern

Rounds 1 and 2: *P2, K2; repeat from * to end of round Round 3 and 4: Knit Spiral Toes Waffle Socks

Toe Instructions

Using Judy’s Magic Cast on, cast on 12 sts (6 on each needle), leaving a lengthy tail. Round 1: Hold tail to secure the first stitch, knit 1 round. Round 2: Holding both working and tail yarn, knit1 round (12 sts on each needle). Round 3: With the working yarn only, knit each individual stitch (12 sts on each needle). Round 4: *K4, M1, repeat from * to end of round (6 sts increased – 3 on each needle). Rounds 5 and 6: Knit. Repeat Rounds 4 – 6 increasing 1 additional Knit stitch before the M1 (eg, K5, K6, K7, etc.) until there are 30 sts on each needle (or desired number). Foot Instructions Rounds 1 and 2: *P2, K2; repeat from * across the top of the foot, and knit all stitches on the sole of the foot. Rounds 3 and 4: Knit. Repeat these 4 rounds until foot measures 2” less than desired length from the tip of the toe, ending with a Row 2 on the top of the foot, and ready to start the heel.

Waffle stitch pattern looks spectacular with Odette’s heathered and feathery appearance.

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The 1st stitch on the heel has 2 wraps. Pick up both wraps and knit together with the st. Continue to knit across the heel sts to complete the round. Work 1 more round of pattern across the top of the foot, and knit across the heel sts. Leg Instructions Proceed in pattern around all stitches until desired length ending with a Round 4. Cuff: *K1,P1; repeat till end of round and desired length Jeny’s Surprising Stretch Cast Off K1, YOP, P1; Pull both K and YOP over P st; 1 st on right needle *YRN, K1; Pull both st and YRN over K st Spiral Toes Waffle Socks made with Odette Bordeaux

Short Row Heel Instructions

Working with heel stitches only, proceed with short rows as follows: Row 1: Knit across heel till 1 st rem, wandt. Row 2: Purl across heel till 1 st rem, wandt. Row 3: Knit across till 1 st before wrap, wandt. Row 4: Purl across till 1 st before wrap, wandt. Continue working in this fashion until 10 sts have been wrapped on either side of the center 10 heel sts. Row 21: Knit across to 1st wrapped st, pick up wrap and knit together with the st, wandt the next st. Row 22: Purl across to 1st wrapped st, pick up wrap and purl together with the st, wandt the next st. Row 23: Knit across to next wrapped st, pick up both wraps and knit together with the st, wandt. Row 24: Purl across to next wrapped st, pick up both wraps and purl together with the st, wandt. Continue working in this fashion until all wraps have been picked up and worked on the left side of the heel. There should still be 1 wrapped stitch on the right side that has not been worked. Pattern across top of foot stitches.

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YOP, P1; Pull both st and YOP over P st Repeat from * until all stitches have been worked finishing

Weave in toe and cuff ends. Who would have thought that a yarn rated as Light could be knit to a fingering weight gauge and look so lovely? Odette truly is a chameleon when it comes to gauge. The heathered appearance of the yarn is perfect for the waffle stitch pattern. They are cushy, soft and warm. I’ll be wearing them regularly on my winter walks, and take care when laundering to ensure that I have them for years to come.

Leftover yarn from the sweater makes a warm and cushy cowl I had originally planned on using Odette to make a popular free shawl pattern available from Ravelry, which is why I made swatches of the mesh pattern. After doing the color work on the Olympia Pullover, I changed my mind and decided to do some more color work. I wear cowls a lot during the winter and have to give them up for laundering now and then. As such, I needed another one.

the cowl, just not as much. The total weight of the cowl is 1.75oz or 50 grams, which implies that it used 241yds [220m] in total. It’s best to use a stretchy cast on and off so it can easily be pulled over your head. The stretchy cast on method I use most often is a variation of the Long Tail cast on. The difference is that I alternate the position of the tail yarn over my thumb for knit vs. purl stitches. I use this method when casting on stitches for top down socks and it provides ample stretch when putting them on or off. For the cast off, I’ve included instructions for Jeny’s Surprisingly Stretchy Bind Off. It’s become a favorite of mine. For this project, I used:

Leftover Odette after making the Olympia Pullover

This cowl is knit from the bottom up, and decreases along the way to make it narrower at the top. I decided to start with Bordeaux as there was more yarn left over from both the sweater and the sock projects than the other colors. Gauge is not as important for this project, but it will affect the overall size. I decided to use a US 6 [4.0mm] needle since that’s what I’d used on the color work section of the sweater and was happy with the result. How much of each color is needed for this project is difficult to say. I can tell you that I still had left over yarn after completing

finished measurements 22” bottom circumference, 12”h, 14” top circumference

abbreviations

BOR: beginning of round Dec:decreased K:knit K2tog: knit two stitches together P:purl PM:place marker St(s):stitch or stitches YOP: yarn over purlwise YRN: yarn round needle Funnel Shaped Cowl

With Color A, loosely cast on 136 sts, PM to denote BOR Work 6 rounds in 2×2 ribbing (K2, P2) The Pattern

Knit 8 rounds.

Knit 8 rounds with colors A and B as follows: *K2 A, K2 B, repeat to end of round, drop A

materials

With B, Knit 4 rounds.

• 4 Leftover colors of Odette in Bordeaux (A), Winter Wheat (B), Rusted Orange (C), and Rose Villa (D)

Knit 3 more rounds.

yarn

needles • US 6 [4.0 mm] circular knitting needles, 16” or 32” for Magic Loop, or dpn’s notions • tapestry needle to sew in ends

Decrease round: *K15, K2tog, repeat from * to end of round (8 sts dec 128sts) Knit 8 rounds with colors B and C as follows: *K2 B, K2 C, repeat to end of round, drop B With C, Knit 4 rounds. Decrease round: *K14, K2tog, repeat from * to end of round (8 sts dec 120sts) Knit 3 more rounds. Knit 8 rounds with colors C and D as follows: *K2 C, K2 D, repeat to end of round, drop C KNITmuch | issue 13

With C, Knit 1 round. Decrease round: *K13, K2tog, repeat from * to end of round (8 sts dec 112sts) Knit 4 more rounds. Decrease round: *K26, K2tog, repeat from * to end of round (4 sts dec 108 sts) Knit 1 round. Knit 8 rounds with colors D and A as follows: *K2 D, K2 A, repeat to end of round, drop D With A, knit 1 round. Decrease round: *K25, K2tog, repeat from * to end of round (4 sts dec 104 sts)

Knitting with Odette has been an extremely pleasant and very surprising experience. The way this yarn adapts to different gauges using various needle sizes, what I refer to as the chameleon factor, was very surprising indeed. But also, the yardage a single 1.75oz [50g] skein yields. The way the yarn puffs up when knit at a looser gauge produces a light fabric with a lovely drape. Originally, I thought that the muted, heathery colors of Odette may not do the Olympia Pullover justice, but I was wrong. They are beautiful together.

With A, work 10 rounds of 2×2 ribbing (K2, P2).

I hope this feature has encouraged you to try new or challenging projects. There are so many techniques, stitch patterns, and color work designs available to us knitters. If you haven’t tried it before, try it now. There’s a wealth of knowledge available at your fingertips; you can call a friend, ask the designer, reference an online tutorial, or Google it to find a world of YouTube videos to show you how. Sounds a little like “Who Wants to be a Millionaire”, doesn’t it? I’ve really enjoyed working with Universal Yarn Odette. Look for me on Ravelry (castalot) to see other projects I intend to make with this yarn. Until then, stay safe, be healthy, and carry on knitting!

Cast off using Jeny’s Surprising Stretchy Cast Off. Weave in ends. Jeny’s Surprisingly Stretchy Bind Off

K1, YRN, K1; Pull both st and YRN over K st

YOP, P1; Pull both st and YOP over P st (twice) *YRN, K1; Pull both st and YRN over K st (twice) YOP, P1; Pull both st and YOP over P st (twice) Repeat from * until all stitches have been worked. I love the way the 4 colors work together on this cowl. When worn around the neck, it will scrunch up but all 4 colors can still be seen. I’m very pleased with the end result and happy that I could make good use of the leftover yarn.

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Funnel Shaped Cowl made with left over Odette yarn from the Olympia Pullover.

Ta-da!! The awesome ensemble featuring the Olympia Pullover, Spiral Toes Waffle Socks, and Leftover Funnel Cowl all knit with Odette.

Cindy O'Malley

cindooknits.blogspot.com

don't miss these FREE projects and tutorials online!

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and there's so much more! KNITmuch | issue 13

Textured washcloth in Cotton Supreme

Charles Voth

Here at KNITmuch.com we love to introduce you to new yarns, but sometimes, it’s great to rekindle our love for some of the classics. We’ll look at the harmony between some great yarns and some completely new textured stitches.

Soft and sweet, Cotton Supreme is perfect for a facecloth.

This facecloth is a 2×2 ribbing with ridges in Cotton Supreme.

KNITmuch | issue 13

A few years ago, I knit a little toddler sweater with Universal Yarn Cotton Supreme, and Cindy O’Malley knit a Tee with the Waves version of this soft cotton yarn, but in this feature, I want to share a simple textured knit pattern using Universal Yarn Cotton Supreme to make facecloths or even baby blankets.

Photos by Charles Voth

Please consult the list of abbreviations below if a term is new to you. Cast on 36 sts or a multiple of 4 stitches. Row 1 (WS): Purl across. Row 2: With yarn in back, sl1 purlwise, wyib, sl1 knitwise, k2, [k2, p2] across to last 4 sts, k4. Row 3: With yarn in front, sl1 purlwise, wyif, sl1 knitwise, k2, [k2, p2] across. Row 4: Wyib, sl1 pwise, wyib, sl1 kwise, k2, [wyif, sl 2 pwise, p2] across to last 4 sts, k4.

Abbreviations

[ ]: repeat between square brackets as indicated K: knit Kwise: knitwise P: purl Pwise: purlwise Rep: repeat(s/ed/ing) Sl: slip St(s): stitch(es)

Wyib: with yarn in back Wyif: with yarn in front Universal Yarn Cotton Supreme is so soft and comes in several beautiful colors for all your knitting pleasures.

Row 5: Wyif, sl1 pwise, wyif, sl1kwise, k2, [k2, wyib, sl 2 pwise] across to last 4 sts, k2, p2. Row 6: Wyib, sl1 pwise, wyib, sl1 kwise, k2, [p2, k2] across to last 4 sts, k4. Row 7: Wyif, sl1 pwise, wyif, sl1kwise, k2, [p2, k2] across to last 4 sts, k2, p2.

This is the wrong side of the facecloth.

Row 8: Rep Row 6. Row 9: Rep Row 7. Row 10: Wyib, sl1 pwise, wyib, slip 1 kwise, k2, [p2, wyif, sl2 pwise] across to last 4 sts, k4. Row 11: Wyif, sl1 pwise, wyif, sl1kwise, k2, [wyib, sl2 pwise, k2] across to last 4 sts, k2, p2.

The DK-weight cotton is perfect for next-to-the-skin use.

Row 12: Rep Row 2. Row 13: Rep Row 3. Rep Rows 2 to 13 until work is square, ending with a RS row. Last Row: Purl. Bind off. Learn how to knit crisscrossed ribbing in a new yarn. It’ll look completely different than this Cotton Supreme version.

KNITmuch | issue 13

Oodles of noodles with crisscrossed ribbing in Bella Chenille yarn Let's look at Universal Yarn Bella Chenille and the crisscrossed ribbing stitch pattern. Bella Chenille is a great yarn for dramatic texture, as we saw a few years ago when I taught you how to knit bobbles without turning the work, and the crisscross effect doesn’t disappoint.

Abbreviations

(k1, yo, k1): these stitches are all worked into one stitch K: Knit K1tbl: knit 1 through back loop

Oodles of noodles? Nope! It’s crisscrossed strands of Bella Chenille yarn.

P1tbl: purl 1 through back loop

Please consult the abbreviations below if need be.

Psso: pass slipped stitch over indicated number of stitches

The Crisscrossed ribbing stitch pattern

Wyif: with yarn in front Yo: yarn over

Cast on a multiple of 4 stitches, plus 5 more.

In the following video, I show you how to work all the rows of this crisscrossed ribbing pattern. I used Cotton Supreme to film the video because I had already cast off the Bella Chenille swatch.

Knit 4 rows garter stitch. Row 1: K2, [k1tbl, ktrwp1, k1, ktrwp1] across to last 3 sts, k1tbl, k2. Row 2: P2, [p1tbl, wyif sl 1 dropping extra wraps, p1, wyif sl 1 dropping extra wraps] across to last 3 sts, p1tbl, p2.

Ktrwp1: knit 1 but wrap needle 3 times before lifting through stitch.

Bella Chenille is one of the best yarns around for baby blankets, and the crisscrossed ribbing makes it even more fun.

I hope you enjoy trying a complete blanket out of Universal Yarn Bella Chenille.

Row 3: K2, [k1tbl, sl 1, (k1, yo, k1) all in next st, psso 3 sts just made, sl 1] across to last 3 sts, k1tbl, k2. Row 4: P2, [p1tbl, wyif, sl 1, p1, k1, p1, psso 3 sts just made] across to last 3 sts, p1tbl, p2. Rep Rows 1 to 4 for pattern to desired length. Knit 4 rows garter stitch. Bind off.

Not only does Bella Chenille work up into a soft blanket, it’s also super quick to knit.

KNITmuch | issue 13

If you like raised textures, these leaning bud stitches are fun to make.

Not knit nupps nor knots: buds are the alternative stitch! In this feature we revisit good yarn, friends, and look at new textures in knitting, I would be remiss in not including the Deluxe Superwash line. More than a couple of years ago (this yarn does hold up as a classic), I designed with the Deluxe Worsted Tweed line. Much more recently I designed a modular blanket and a sweater with the Deluxe Stripes line. And only a couple of years ago, Cynthia MacDougall highlighted many of the features of Deluxe DK and Worsted solids. I want to share a nifty work-around for creating nupps, even though a purist would say “not even close!” Some might call these leaning bud stitches bobbles, but they’re not quite raised enough for that. Come along and let’s explore!

Teal is my all-time favorite color. I’m so lucky I was able to knit this swatch with the Azure Heather color of Deluxe DK Superwash. Without further ado, let’s get right to the Leaning Bud Stitch itself, and then we’ll incorporate it into the whole swatch, blanket, sweater…whatever you wish to do. The Leaning Bud stitch is worked over 3 rows and 3 stitches. The first row sets up some elongated stitches, the 2nd row creates the bud, and the 3rd row cinches it off and stabilizes it in the surrounding stitches and rows.

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Leaning Bud Stitch

Cast on a multiple of 4 stitches, plus 3. Work 2 rows stockinette stitch. Row 1: Knit. Row 2: P3, [pdbl3, p1] across to last 4 sts, p4. Row 3: K5, [lb-st, k1] across to last 2 sts, k2.

The Leaning Bud stitches look different from every angle.

Lb-st (Leaning Bud stitch): Slip next 3 sts of LH dropping extra wraps and return to LH needle, insert RH needle under horizontal bar between 3rd and 4th sts on LH needle and knit up a loop, drawing it across all three stitches on LH needle and about a cm further, wrap yarn around RH needle clockwise, *Insert RH needle between 3rd and 4th sts (not below horizontal bar again) on LH needle and knit up a loop, drawing it across all three stitches*, wrap yarn around RH needle clockwise, rep btwn * * (5 loops on RH needle), k3tog through back loops, (6 sts made from 3). Maybe you would prefer to watch how to do this from a video.

The Leaning Bud stitch from the side

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Abbreviations K: Knit

K4tog-tbl: Knit 4 stitches together through their back loops LH: Left hand P: Purl Pdbl (purl with double wrap): Insert RH needle purlwise in next st, wrap needle twice and purl drawing both loops through. Rep: Repeat(s/ed/ing) RH: Right hand St(s): Stitch(es) [ ]: Repeat instructions between square brackets as indicated

Row 4: P3, [p first 2 sts from lb-st, k4tog-tbl, p1] across to last 4 sts, p4. Row 5: Knit. Row 6: P5, [pdbl3, p1] across to last 2 sts, p2. Row 7: K3, [lb-st, k1] across to last 4 sts, k4. Row 8: P5, [p first 2 sts from lb-st, k4tog-tbl, p1] across to last 2 sts, p2. Rep Rows 1 – 8 for pattern. I hope you try this stitch in your designs! Please share any pictures with us!

Taking Bamboo Pop yarn for a “bumpy” ride Now let's knit the Bump Stitch with Bamboo Pop by Universal Yarn. I wrote a series of KNITmuch blog posts about good textures and projects to make with Bamboo Pop, and Michelle Nussey wrote about the antimicrobial and hypoallergenic qualities of Bamboo Pop and shared some lovely stitch patterns as well. This truly is one of our favorite yarns at KNITmuch. The Bump Stitch is a less conventional way to make ribbing be more about columns of texture than elasticity. If you have a project that needs a decorative edge without the gather factor, this Bump Stitch ribbing will be the right application. BTW, how do you like my Knitter’s Pride Zing needles?! They’re so smooth to knit with and they come in Zing interchangeable circular needles and Zing double pointed needles too!

The name says it all. Textures truly pop with Bamboo Pop yarn.

Pattern Instructions

Cast on a multiple of 5, plus 2. Row 1: Wyib, sl 1, k1, p1, k1dbl, p1, bump-st, [p1, k1dbl, p1, bump-st] across to last 5 sts, p1, k1dbl, p1, k2. Row 2: Wyif, sl 1, p1, [k1, wyif sl 1, k1, prw1, k2tog-tbl] across to last 5 sts, k1, wyif, sl 1, k1, p2. Repeat 2 rows for pattern. Let’s look at a video for some of the more intricate tips on working this stitch easily. Universal Yarn Bamboo Pop showcases this ribbing pattern beautifully without compromising its stitch definition! We have one more textured stitch pattern to introduce you to so keep reading!

Abbreviations

Bump-st: Knit through back loop of next st but leave on LH needle, wrap yarn around RH needle clockwise, bringing yarn from back over RH needle and return to back between two needle tips, knit same st together with next stitch through back loops. K: Knit K1dbl (knit 1 double): Insert RH needle in next st, wrap yarn around needle twice and knit up both loops, slipping st of LH needle.

The wrong side of this stitch pattern has its own share of bumps and twists.

P: Purl Prw1 (reverse wrap purl): Insert RH needle as if to purl wrap yarn clockwise around RH needle tip, finish purl as usual. Rep: Repeat(s/ed/ing) Sl: Slip Sts: Stitch(es) Wyib: with yarn in back Wyif: with yarn in front

The channels created in this ribbing with Bamboo Pop yarn are so appealing to the eye.

KNITmuch | issue 13

Feathery soft knitting with Penna

Cindy O'Malley

The Suri (Photo of Hadstock NZ Cracka taken by Ann Weir) – The Huacaya (Photo of Nevalea Helen taken by Amanda Bethune) Penna is available in 16 different colors. Rose Kiss, Raspberry Tart, Mulberry, and Bordeaux are my color choices for these projects.

A close up look at the individual strands reveals the feathery appearance and halo of Penna.

Welcome! I’ll be knitting with Universal Yarn Penna. Spun in Italy, Penna is a luxurious lace-weight blend of 50% baby suri alpaca, 28% extra-fine merino, and 22% nylon. It features a gorgeous halo that adds an ethereal quality to any project. On its own, Penna is best suited for garments and accessories with a loose gauge. When held with another yarn, the possibilities are endless. Penna is available in 16 different colors of which I’ll be using 4 in this feature: Rose Kiss, Raspberry Tart, Mulberry, and Bordeaux. Each .89 [25g] ball contains 186yds [170m]. This really speaks to the lightness of the fiber, and I think you’ll be surprised at how far a single ball goes in a knitted project. Penna is rated as a lace weight, meaning that it knits at a recommended gauge of 22 – 24 sts and 36 – 38 rows over 4” [10cm] using a US Size 2 – 3 [2.75 – 3.25mm] knitting needle, or 22 – 24 sc and 24 – 26 rows with a US B/1 – D/3 [2.25 – 3.25mm] crochet hook. When a fiber is this light with such a beautiful halo, it begs to be knit at a very open gauge, which means I won’t be paying much attention to the recommended gauge in this feature. Instead, I’ll be knitting at a very loose and airy gauge using much larger needles. As with all blended fiber yarns, the most delicate of the fibers dictates the laundry care, and Penna is no exception. Hand wash and lay flat to dry will keep your projects looking beautiful. 28

KNITmuch | issue 13

A close view of the yarn exudes the feathery halo – you can actually see how soft it is. Penna means pen, quill, feather or plume; of which the latter two perfectly describes this yarn. You may be wondering what the difference is between Alpaca and Suri Alpaca. According to Moonacre Alpacas NZ . . . “There are two types of alpacas: The “suri”, has no crimp so the individual fibers wrap around each other to form lustrous pencil locks that hang down from the body, parting at the spine. They almost look like dread locks. The fleece of the other type of alpaca is called the “huacaya”, which has fleece with waviness, “crimp”, that gives it a fluffy, Teddy Bear-like appearance. You can see the difference between the two in the picture below.” We’ve all fallen in love with the Huacaya or Teddy Bear Alpaca that we get to meet at fairs, but I can’t say that I’ve ever seen a Suri Alpaca; something to look forward to down the road at a fleece festival perhaps. I have some great, yet simple projects in store for Penna. A tri-colored cowl, beret, and luxurious stole are on the list. Even though it’s lace weight, these are all projects that you can knit in a relatively short time, so you may be able to get another gift completed before Christmas.

Photos by Cindy O'Malley

Knitting swatches in keeping with an open and airy look

I’m knitting some swatches, not based on the recommended gauge as discussed, but using larger needles to maintain an open and airy look to the fabric. One of the projects I selected for this feature is a cowl designed for this yarn using a needle size of US 8 [5mm]. So that’s where I’ll begin. This yarn is extremely light and feathery. Make sure you use some hand lotion before knitting with Penna. I discovered that it would get caught on my dry, rough hands when knitting. I didn’t realize they were that dry, but after a little hand lotion, everything went smoothly, both literally, and figuratively speaking.

Because my first project is a cowl, gauge isn’t really that important. I just wanted to see what the fabric would look like before I started knitting the finished item. The recommended gauge for the cowl is 16 sts x 26 rows in seed stitch using a US 8 [5mm] needle. My swatch measured in at the same. The halo of the yarn fills in the loose stitches very nicely creating a lovely texture and muted stitch definition. I had plans to make a shawl with a lacy motif, but after seeing how the halo muted the stitch definition of the first swatch, I had some concerns that it may not do the yarn, nor the pattern justice. The pattern I had originally selected called for a US 6 [4mm] needle with a recommended gauge of 16 sts x 20 rows over 4” [10cm] in a lace pattern using a lace weight yarn. I decided to use the same needle size to see what I’d get and how it looked.

Loosely knit swatch in seed stitch yielded 16 sts x 26 rows on a US 8 [5mm] needle.

The resulting fabric was pretty, but the lace pattern was not that desirable because of the muted stitch definition. I also found it hard to read my knitting to know what to do on each row. The gauge I achieved is very difficult to ascertain. It’s approximately 28 sts x 26 rows in the pattern I used, but because the fabric is so open, I can make it whatever gauge I want. As I mentioned previously, gauge isn’t that important for a shawl, but good to know for future reference. The yarn is lovely, and the pattern is lovely, but they just don’t work together. I need to rethink my shawl plans, but that’s for another day. As mentioned, when Penna is held together with another yarn, the possibilities are endless. For one of my projects, I intend to make a beret that combines Wool Pop with Penna! For Wool Pop, I discovered that using a US 6 [4mm] needle created a lovely fabric with a gauge of 22 sts x 30 rows. For my beret, I’d like the fabric to be denser than that for a sweater, so I’ll use the US 6 [4mm] needle combined with Penna to see what gauge I achieve. There are so many other options when working with a lace weight yarn such as this. I could keep making swatches of different combinations just to see what turns out.

Sample swatch before blocking of a lace stitch using US 6 [4mm] needles. The stitch detail is quite muted by the Penna halo.

Wool Pop combined with Penna on a US 6 [4mm] needle resulted in a gauge of 19 sts x 26 rows

KNITmuch | issue 13

Consistency in pattern when working in the round 30

Rose Kiss, Raspberry Tart, and Mulberry are my color choices for Plume.

I'll be knitting a cowl that was designed for this yarn. This is a great beginner project for those who are new to knitting with lace, or new to knitting in general. It’s worked in the round using 3 different colors of Penna. I’ve selected Rose Kiss, Raspberry Tart, and Mulberry as my color choices. It’s knit using a simple seed stitch. The pattern is called Plume, which is so appropriately named given one of the translations for Penna. Here’s where you can download the free pattern for the Plume cowl. Plume calls for using 3 balls of Penna, in the colors of your choice. It’s worked in the round on US 8 [5mm] needles, in seed stitch (K1, P1), however, I did make a couple of adjustments along the way. The pattern instructs to use an even number of stitches. I’ve learned from experience that you can see the jog from the beginning and ending of the round when working in pattern. It doesn’t show up so much when working in stocking stitch but can be seen in seed stitch.

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Plume calls for using 3 balls of Penna, in the colors of your choice. It’s worked in the round on US 8 [5mm] needles, in seed stitch (K1, P1), however, I did make a couple of adjustments along the way.

As such, I used an odd number of stitches for my cast on; 125 instead of 124. I must admit, that you’d be hard-pressed to see the jog with this yarn. The muted stitch detail masks it, so consider this a tip for future pattern projects when working in the round. The pattern is very simple: Rnd 1: *K1, p1; rep from * to end; when using an odd number of stitches, you need one more k1. Rnd 2: *P1, k1; rep from * to end; when using an odd number of stitches, you need one more p1. If you make it with an odd number of stitches, then you consistently k1, p1 until the color change. It’s that simple. Speaking of color change, I decided to have a little fun with it. Instead of “Break color A, change to color B”, I joined color B (without breaking color A) and proceeded as follows: B: K1, slip 1 with yarn in front. A: Slip 1, p1 with yarn in back.

The end result is very pretty and makes for a light and airy accessory. It’s also quite stretchy, which allows you to double wrap it around your neck. I was showing it off to some of my knitting pals during a Zoom call, and double wrapped it. It looked great, but after only a few moments, I had to take it off because it was too warm for indoors. That’s really good to know that it can be doubled up for outside to keep you warm and unwound to wear as a soft and lovely accessory when inside. I was very surprised by how much yarn was still on each ball. I weighed them and discovered that there was 17g leftover, even with the extra rows that I put in for the color change. Each color only used about 8g out of a 25g ball. This means you can easily make 3 cowls out of the 3 balls, make it larger, or double up the strands to make a chunkier version. If a solid color is your preference, you could make this cowl from 1 ball. I’d like to make another one using double strands and a larger needle size; possibly a US 10 [6mm] to keep it open and airy.

I repeated these two rows 3 more times before dropping color A and continuing with color B. When it was time to change to color C, I did the same process with B and C. It created a very interesting color transition.

As mentioned previously, this is a great beginner project for knitting with lace weight yarn, or if you’re new to knitting. It knits up very quickly and looks lovely, so perhaps you can get one more gift done before Christmas.

My completed Plume cowl with slip stitch color transition

Double wrap Plume around your neck for added warmth.

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Penna in color Raspberry Tart and Wool Pop in color Raisin are my choices for the Raspberry Beret.

I’m making a Raspberry Beret, but not the kind you’d find in a second-hand store. This one is made with Penna in Raspberry Tart, combined with Wool Pop in color Raisin. The hat is made by holding a single strand of each yarn together. It starts with the hat band using the ribbed cable motif, joined to form a circle, and then the stitches are picked up for the body and crown. Increases are done with a yarn over on the first row; then the yarn over is knit through the back loop on the next row. Based on the swatch I made in the previous article about knitting swatches, I’m using a US 6 [4mm] needle for the banding. I was originally thinking that I would use that needle size for the entire hat to keep the fabric dense, but discovered that it was too dense and didn’t sit quite right for the body and crown, so I changed to a US 7 [4.5mm]. The band is worked flat and joined at the ends to make a circle. Joining can be accomplished by grafting the two ends together, a 3 needle bind off, or by sewing the cast on and off edges together. If grafting or 3 needle bind off is your preference, then you’ll need to do a provisional cast on to start so that the live stitches can be picked up from the beginning to be joined with the end stitches. I opted for a 3 needle bind off, but any of above methods will work. Whichever method you choose, leave enough tail yarn to do the grafting or seaming. This way, you won’t need to cut the yarn when picking up the stitches for the crown. 32

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Combining Penna with another yarn makes for endless possibilities For this project, you will need:

materials yarn

• 1 ball of Penna in color Raspberry Tart • 1 skein of Wool Pop in color Raisin needles • US 6 [4mm] circular needle in 16” or 32” for magic loop, or double pointed needles • US 7 [4.5mm] circular needle in 16” or 32” for magic loop, or double pointed needles • cable needle notions • 1 button with a shank • tapestry needle to sew in ends and for grafting if that is the chosen join method. size Sized to fit a 20” head. gauge 18sts x 24 rows holding a strand of each yarn with a US 7 [4.5mm] needle

abbreviations

BOR: beginning of round dec: decrease k: knit k2tog knit 2: stitches together (1 st dec’d) ktbl: knit through back loop m: marker p: purl pm: place marker RS: right side sl: slip st(s): stitch(es) WS: wrong side yo: yarn over stitch definition

7×7 Left Cross Rib (LCR): Sl next 7 sts to cable needle and hold in front, work the next 7 sts from left needle in established rib pattern, work 7 sts from cable needle in established rib pattern.

Raspberry Beret Band in Penna and Wool Pop joined in the round.

Band

With US6 [4mm] needles, cast on 20 sts (provisional cast on if using grafting or 3 needle bind off ). Set up rows: 1st row: K2, p2, [k1, p1] 3 times, [p1, k1] 3 times, p2, k2. 2nd row: P2, k2, [p1, k1] 3 times, [k1, p1] 3 times, k2, p2. Ribbed Cable Pattern

(worked over 20sts)

Row 1 (RS): K2, p1, 7×7 LCR, p1, k2. WS Rows 2-10: p2, k1, [p1, k1] 3 times, [k1, p1] 3 times, k1, p2. RS Rows 3-9: K2, p1, [k1, p1] 3 times, [p1, k1] 3 times, p1, k2. Rep Rows 1-10 for pattern. Work 9 complete ribbed cable patterns, then work rows 1 – 8. Work should measure approximately 20” when stretched. Cast off and join to cast on row, or optionally, pick up stitches from provisional cast on and either graft or 3 needle bind off to join ends.

A raspberry shank button is used to finish off the top of the beret.

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The completed Raspberry Beret worn Parisian style

The Body and Crown

With smaller circular needles, pick up and knit 90 stitches evenly around the band. Place a marker to denote the beginning of round (BOR). K1, p1 for 4 rows.

*(K2, yo) repeat from * to end of round, change to larger size needles. *(K2, ktbl) repeat from * to end of round. 135 sts Knit 8 rows. Purl 1 row. Knit 1 row. Purl 1 row. Knit 2 rows. Dec Row – (K13, k2tog) repeat to end of round. 126 sts

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Knit 2 rows. Dec Row – (K12, k2tog) repeat to end round. 117 sts Knit 2 rows. Dec Row – (K11, k2tog) repeat to end of round. 108 sts Knit 1 row. Continue decreasing in this fashion (Knit 1 less stitch before K2tog) on every other row until 9 stitches remaining. Cut yarn, draw through remaining stitches, and secure; be sure to leave enough yarn for sewing on the button. Recently, I helped a friend unpack and set up a new yarn store. As I was setting up the button display, one rogue button rolled across the floor. It was a shank button in raspberry, so I just had to use it on my beret.

My Raspberry Beret is complete. The first time I tried it on, it was a little snug, but after trying it on a couple of times, it fit perfectly. What I find fun about it, is that you can wear it different ways. I can pull it over my ears if needed for warmth, but I prefer wearing it Parisian style – especially with my Plume cowl. Oui, oui! By combining Penna with Wool Pop, I get a lovely rich halo of raspberry intermixed with the durability and softness of Wool Pop in Raisin color. I’m really pleased with the end result. By taking a motif from a sweater pattern and combining Penna and Wool Pop together, I ended up with a unique design. Every time I wear my Raspberry Beret, I will think of that song.

Elegance when matching the right pattern with the right yarn I’m going back to single strand knitting by making an elegant stole. I originally planned on making a lace shawl but learned from the swatch in the second article, that the feathery halo of Penna muted the stitch detail. You can have a beautiful pattern, and beautiful yarn, but if they just don’t work together, you end up with something less than beautiful. Both yarn and time is expensive; and we don’t want to waste either one. I decided that the lace pattern needed to be simple so I went back to basics. What’s more basic than a feather and fan motif, and when you think about the yarn translation, nothing could be more appropriate.

Bordeaux is my color choice for this project.

My color choice for this project is Bordeaux, and since one of my favorite beverages is wine, I was smitten. Feather and fan is an easy pattern to knit, but also easy to adjust in size. You can make it bigger or smaller by adding or subtracting multiples of 12 stitches. What surprised me when knitting this project (actually, all 3 projects) is how far a single ball went. If you recall from Day 1, a 25g ball of Penna contains 186 yds [170m]. It doesn’t seem like a lot, yet it is. By using larger needles and creating an open and airy fabric, the yarn extends beyond that of “gauge knitting”.

Completed stole made with Penna in Bordeaux. The rich feathery halo highlights the feather and fan motif.

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For this project, I used:

abbreviations

materials

K: knit

yarn

K2tog: knit two stitches together

• 3 balls of Penna in Bordeaux

P: purl

needles

Sl: slip

• US 8 [5mm] knitting needles

St(s): stitch or stitches

• tapestry needle to sew in ends

Yo: yarn over

• finished measurements: 16 ½” x 62” after blocking

Feather and Fan Stole

Cast on 78 sts.

Row 1 – 5: Sl1, knit to end of row. Row 6: Sl1, purl to last 3 sts, k3. The Pattern

Row 1: Sl1, k2, k2tog 3 times, *(yo, k1) 6 times, k2tog 6 times, repeat from * twice more, (yo, k1) 6 times, k2tog 3 times, k3. Row 2: Sl1, k2, Purl to last sts, k3. Row 3: Sl1, k to end of row. Row 4: Sl1, k2, p to last sts, k3.

Work rows 1 – 4 until work measures 59½” or desired length, ending with either row 1 or 3. With wrong side facing, work 4 knit rows remembering to slip the first stitch on every row. Cast off. When knitting a lace motif, blocking is an important element in finishing your project. Lace work doesn’t reveal its true beauty until blocked, and sometimes this requires “hard blocking”. Hard blocking means to use blocking wires, (if you have them) and pins to hold the fabric open while drying.

Hard blocking requires wires and pins to hold the fabric open while drying.

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The fabric must be soaked, not just sprayed with water. After soaking in a non-rinse solution, Soak or Eucalan, I roll it in a towel and squeeze out as much water as I can. Then spread it out on blocking mats, and insert blocking wires down each side, and pins to hold everything in place. Blocking mats can be purchased from your local yarn store, but mine came from a garage sale. These are children’s play mats, but they’re the same thing. It’s a dense foam mat that you can piece together for size, and insert pins as needed. It only took a couple of hours to dry given the lightness of the fabric, and the fact that the furnace is running now, but I left it for a day before unpinning. The result is beautiful. I had intended to embellish it with beads while knitting, but the beads that I had were not the right color. I purchased clear beads with a silver interior with the intention of sewing them on later and thought to myself – perfect; wine in a crystal glass. Sewing them on later turned out to be a pain, so I went without. Next time, I’ll get the right beads in advance and knit them into it as I go. However, I’m quite pleased with the result. The ensemble features an elegant Feather and Fan stole, the feathery light Plume cowl, and a Raspberry Beret that combines Penna with Wool Pop.

The feather and fan motif is perfect for Penna. The feathery soft halo of the yarn doesn’t fight with the pattern. They compliment each other very nicely. This is a beautiful yarn and a beautiful pattern, and the results are beautiful. I see myself getting all dressed up for New Year’s Eve, wearing my Bordeaux stole, and sipping a glass of wine while watching the 2020 countdown from the comfort of my living room sofa! I hope this feature has inspired ideas on using lace weight yarns, either singly, doubled up, or in combination with other yarns. It has mine. I have quite a stash of lace weight yarn, and now I can’t wait to get started on another project that can make good use of them – not just good – beautiful use of them. I’ve really enjoyed working with Universal Yarn Penna. It’s opened up possibilities for me and I love the results that I achieved with both Penna and Wool Pop.

Cindy O'Malley Lace knitting doesn’t reveal its true beauty until blocked.

cindooknits.blogspot.com KNITmuch | issue 13

Designing a men’s sweater vest using Universal Yarn Colorburst

Charles Voth

Universal Yarn Colorburst

It’s been a while since I’ve designed and knit something for myself. When I discovered Colorburst by Universal Yarn in the summer 2020 and knit the shawl with it, I thought this yarn would make a perfect men’s sweater vest. As I explore Universal Yarn Colorburst further, please join me in designing your own vest using the general framework with which I’ll provide you.

By studying yarn behavior, I mean that I consider aspects like thickness, drape, stitch definition, how colors interact with each other and with the stitch patterns, and how it washes up and blocks. I’d encourage you to swatch at least 4 or 5 different stitch patterns with Colorburst to see what needle size you’d like to use to give the best drape and texture. Keep ALL the notes you take, especially gauge, but other notes and thoughts you’ve had about the yarn, too. In the swatch above, I like how the mock cable looks, but the extended stitch double moss stitch just doesn’t convince me because the yarn untwisted and looked untidy. I also found that I like a firmer stockinette panel, so I went down a needle size for the stockinette rows.

Get your notepad, pencil, knitting needles and Colorburst yarn, you’re learning how to design your own vest!

Step 1

Swatch to your heart’s content! I have more than 10 stitch dictionaries and continuously find more and more stitch patterns online as well. They all serve as inspiration, but until I’ve used the yarn in swatches, and seen how it knits, looks, and behaves, there’s no deciding which stitch pattern I’ll use, or whether I’ll stick with the basics like stockinette, garter stitch, ribbing, or moss stitch.

Mock cable on this swatch didn’t hold its shape

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Tuck stitch brocade using Universal Yarn Colorburst

This tuck stitch brocade looks lovely. I really like how the diagonal lines that are in a different section of the color sequence than the background stitches stand out. I realized that I would need a wider panel so that the self-striping bands would be narrower to best take advantage of this stitch pattern, so I didn’t select it for the vest, but I’ll share how to knit later.

Photos by Charles Voth

Which measurements matter in designing a men’s sweater vest? Step 2

The 2nd step of designing involves taking and recording accurate measurements and determining how much ease you want to build into your design. I like my sweaters and vests to fit closer to my torso, so I only add about 2” of ease to the chest and tummy measurements. This leaves room for a t-shirt or dress shirt to go underneath without bundling up uncomfortably. Some guys like the big baggy look, and for them you’ll need to add 4” to 6” of ease to the chest and tummy measurements. The most crucial measurement for a sweater vest is the cross-back measurement. To get this measurement, find the knobby shoulder bone at the crest of your man’s shoulders and measure across the back of the neck from one shoulder to the other. If the wearer is in absentia, or if it’s for you, can find a friend to measure your back, then find a dress shirt he likes and that sits well on his back and measure from between the two sleeve seams across the back near the top. To this measurement, you do not want to add any ease, but if you want the shoulder straps to be narrow, you can subtract between 1” to 3”. I wanted my sweater vest shoulders to be substantial for warmth over fashion. In the photo above, you can see that I went with 19½”. If you’re going to work wide sleeve opening edgings, you’ll need to also make the shoulder straps slightly narrower to accommodate the edge ribbing. I wanted the ribbing on my sleeve openings to hug my shoulder, so I didn’t subtract any width from my cross-back measurement. The cross-back measurement is the most crucial because it determines the point from which the whole garment will drape downward.

Colorburst comes in many different palettes, any of which would serve for a gentleman’s personal preference and panache.

Swatching is a must when designing your own men’s vest with any yarn. With Colorburst, it’s all about the width of the stripes and the best textures.

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The Earth and Sky colorway of Colorburst has two of my favorite colors, plum and teal. It’s just the right amount of warmth for a winter’s day of reading.

These size US4 [3.5mm] needles were the perfect size for a tight 2×2 ribbing on the hem and armhole edgings for this vest, but I did use size US5 for the front, and size US6 for the back of the vest.

Take the chest measurement across the widest section of the chest and upper back with the arms up or use a t-shirt that isn’t loose on the wearer. If you don’t have a form-fitting t-shirt, you can use the loose shirt chest measurement, but you won’t add additional ease, as that’s already built-in. If the tummy measurement (taken at the belly button or widest point just above or below the belly button) is greater than the chest measurement, then you will need to have zero ease added and use the belly measurement as the chest measurement.

Measure from the same point keeping the tape right on the chest and tummy curves to the desired length. If the front length is longer than the back length (which is usually the case for men with larger stomachs, then you need to go with the front length, otherwise, use the back length.

The next two important measurements to take are the lengths. First determine if the wearer wants the bottom hem to land just above his belt loops, just below the belt loops, or longer; some men like sweater vests to land mid-buttocks. Then, place the measuring tape just beside the neck, at the center of the shoulder where the seam should sit and measure from there along the back to the desired length.

When you’re all done, sketch out a schematic diagram for the sweater vest and label the measurements you have. For the chest measurements with ease added in, divide in half for the diagram. The width of the neck opening will be between 8” and 10”, depending on how thick or wide the back of the next is. The depth of the armhole will usually be around 9 inches, but for men with ample pectoral muscles and big biceps, you could go as deep as 11” or 12”. I take the circumference of the upper arm, add 4” for ease, and then divide that total by 2 for the depth of the arm opening from the initial bind-off at the under arm to the first bind off at the shoulders. I start the V-neck opening about 1½” above the beginning of the armhole shaping. Keep reading, I’ll show you how to calculate all the numbers of rows and stitches for your design and give you an example of two stitch patterns you could work into part of the vest as a design element. Universal Yarn Colorburst and my Karbonz by Knitter’s Pride add excitement to this designing adventure! Join me!

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Calculations for a men’s Colorburst sweater vest Step 3 All the calculations

In the vest that I’m wearing in this photo, I experimented with abstract and asymmetrical textures and stitch patterns, because I wanted to visually disrupt the stripes and be playful. But I realize this isn’t everyone’s cup of tea, so for this project I will lead you through working in plain stockinette stitch. Friday, we’ll discuss what you would need to do if you choose to use a different stitch pattern say on the back of the vest, or just on the front. Colorburst yarn knits on average to 23 stitches and 29 rows per 4” on size US 5 [3.75mm] needles. It’s a versatile yarn gauge-wise, so you could knit with smaller needles to achieve a slightly firm fabric or go up to even US 7 [4.5mm] needles for a lovely drape that still isn’t lace-like. For this project, we’ll stick with the gauge on the yarn label, though.

Colorburst comes in many different palettes, any of which would serve for a gentleman’s personal preference and panache.

Texture and cables disrupt the self-striping pattern knit from Colorburst Yarn.

This vest is worked in two pieces and seamed at the shoulders and sides. A neckband and armhole edgings are picked up and knit separately. I knit these in a 2×2 ribbing, and did a waist band that way as well, so I’ll show you how to calculate the stitches for the chest measurement first and then how to modify that number for the cast-on stitch count and the ribbing. When calculating stitches in knitting we use a few basic mathematical equations, and I always use a calculator and double or triple check all my work. The stitch gauge of 23 sts over 4” will be key. For my vest with a width of 22” for the back and front, we need the same number of stitches to work up the torso. We know that 23 stitches are worked over 4”, but we need to know how many stitches we’ll have for 22”. I draw a simple chart like this. These measurements can be changed to make a custom fitting sweater vest for a man in your life, or yourself.

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I start with the number that I have on the diagram, which is 22” and cross diagonally to the opposite number, which is 23 and multiply these together, 22 x 23 = 506. Then I take this result and move to the third and unused number, 4 in this case, and divide 4 into the larger number, 506 ÷ 4 = 126.5. I have to round up or down because the result wasn’t a whole number. Before I do that, I want to see how a 2×2 ribbing would work with this number, as the best 2×2 ribbing on a piece that will be sewn to another similar half will consist of a multiple of 4, plus 2. 124 is a multiple of 4, plus 2 equals 126, so I’m rounding down instead of rounding up to 127. In the 2020s the ribbing is not as gathered or grippy as the ribbing that was customary on sweaters from the mid to late 20th century, where it was typical to decrease the waistband stitches by 10% or more and to use smaller needles. For my vest, I did go down to size US4 [3.5mm] needles for the ribbing, but I didn’t cast on 10% fewer stitches… so we’ll stick with 126 stitches cast on US4 needles and work ribbing as follows. Row 1: K2, [p2, k2] across. Row 2: P2, [k2, p2] across. Repeat these 2 rows for the ribbing pattern. I knit about 2¾” worth of 2×2 ribbing before changing to stockinette, but you can do as you wish. Then change to size US5 [3.75mm] needles for the stockinette up the Back piece of the vest. Work until the Back is 15” long. Now we need to do some more calculations.

The cross-back measurement determines how many stitches have to come off on each armhole side. On the schematic, you’ll see that we need to lose 2½” worth of stitches on each side, and the armhole shaping is a curve. The diagrams are always pictured as a neat curve, but in the knitting it’s a little more angular. Once the ribbing is worked in, the curved look shows up better. So, I’ll use the same chart with different numbers and my math formula ends up as: 23 x 1.25 ÷ 4. This yields 7 stitches once I’ve rounded off. I take a rough third of this number for my initial bind off, the next rough third I decrease by ones every 2nd row, and the remaining stitches I decrease by ones every 3rd row. If I were using a chunkier yarn or a finer yarn, there would be a different way to achieve a curved slope, but we’ll leave it at this for now. Your instructions would read as follows. Bind off 3 stitches at the beginning of the next 2 rows. Then decrease 1 stitch on each edge every other row 2 times, and then decrease 1 stitch on each edge every third row 2 times. This would bring you down to 112 stitches for the cross-back. Work even in stockinette until the armhole depth is 9”. Now we need to calculate the slope of the shoulders. The back of the neck is 8”, so using the same chart above we do 23 x 8 ÷ 4. This yields 46 stitches. We subtract 46 from 112 to get 66 stitches. We need half of 66 on each side of the upper back for the shoulders so we can use 33 sts. To create a slope, I usually cast off ⅓ of the shoulder at a time. The pattern would read. Bind off 11 stitches at the beginning of the next 6 rows. Place remaining stitches on a holder for later.

Those white stitches are placeholders to help guide me when I’m preparing the steek on the V-neck of this sweater vest.

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The front is worked the same up to the beginning of the V-neck, but we’ll see that next because I’d also like to introduce you to steeking, and why I used it on this sweater vest. Knowing how to design your own vest is an exceptional experience, knitting with Universal Yarn Colorburst and Knitter’s Pride Karbonz is delightful.

Colorburst looks best with a steeked V-neck

Steeking the V-neck opening ensures that the stripes match on either side, which just brings out the best of this self-striping Colorburst yarn.

We’ll take a look at steeking and why I use it on this design. Because the center front has an even number of stitches, about an inch before I start the armhole shaping, I decreased a stitch near the center of the front panel. It’s hidden by the cables that I have crossing my front design, but if you’re working in stockinette, you can decrease that stitch near one of the edges where it won’t be visible to have an even number of stitches, in this case 125 before the armhole shaping, and 111 stitches after. When I want to start the V-neck opening, I knit to the center stitch (continuing the armhole shaping if that’s not finished yet) and place it on a locking stich marker. Then I cast on 6 stitches by adding reverse cross yarn-over loops onto the RH needle, and then finishing the row as established. Then I need to calculate the rate of decreases to shape the sides of the V-neck opening. Do not forget that these extra 6 stitches need a stitch marker before and after them because they are worked straight, and any shaping is worked outside of the pair stitch markers.

I chose to work a steek because then I’m guaranteed that both sides of the V-neck opening have symmetrical stripes. If I were to work one side of the neck opening first and then the other, first of all the stripes would be wider, and secondly, there would be an abrupt transition when I joined the yarn on the 2nd half. If I didn’t want an abrupt change, I’d have to discard lengths of the yarn until I got to the same color repeat and sequence as the first half. All in all, too risky for my taste.

With a different yarn, I basted long stitches between the columns of stitches where the stitch markers keep the steek stitches from being worked into the neck shaping.

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Each side of the V-neck is 4” wide, so I can simply use my gauge of 23 stitches over 4” as the number of decreases I need to work. However, if your neck opening is wider than 8”, you’ll need to do the same calculation as IN the last article, to figure out how many stitches correspond to your width. For me, this is when row gauge is valuable for the first time in this particular project. Because I have a whole Back and a lower Front panel done, I can take my row gauge from these and have a more accurate row gauge to use in my calculations than a measly 4-inch square. The depth of my V-neck is 8¾” and my row gauge is 29 rows per 4”. I use the same calculation, starting with the known amount of 29 rows times the desired length, 8¾”, divided by the gauge length, 4”. 29 × 8¾ ÷ 4 = 63 rows…I want an even number, so I’ll round up to 64. In addition, I have 6 rows that I need to use for the shoulder shaping, and I’d rather have my neck opening shaping done before I get to those last 6 rows, so I will use 58 rows to work my shaping. The dilemma now is that I have 23 stitches I need to decrease over 58 rows. If I decrease 1 stitch every other row on each side of the neck opening, I’ll be done in 46 rows and have 12 rows left to work straight. That’s easy! If I don’t want a steep V-neck opening, I could space out the decreases a little more, so I’ll show you how I calculate that.

The right side and wrong side of the steek stitches are shown here with the white yarn basted in to make the path for the sewn zigzag stitches.

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The following formula uses long division and a few sums. This formula is amazingly simple and helps solve the distribution of increases or decreases at all different moments while you’re designing. I learned it from the book Knitwear Design Workshop by Shirley Paden. It‘s by far the most recent publication that’s comprehensive and I’d recommend it to any budding designer if you want to explore this more than what we’re doing from this feature.

You take the smaller number (in this case the number of decreases for the side of the V-neck) and divide it into the larger number (the rows for the V-neck depth) and you figure out the remainder (R) instead of using decimal places. Then you subtract the remainder from 23 to get another number (11). At the top, you take the answer of the division calculation and always add 1 to it and write down that answer above the one that you did below. Then you circle across the written work to get these important numbers.

The steek has been cut open and is not unraveling because of the sewn zigzag stitches along the inner 4 steek stitches.

Now that you know the frequency of the decreases, you can space them out two different ways. You can do the first 11 decreases every other row first (that’s 22 rows), and then the next 12 decreases every 3rd row (that’s 36 rows). 22 + 36 is equal to 58…the depth of the V-neck section of the vest. Remember that these decreases are worked on the outside of the pair of stitch markers that keep the center 6 steek stitches in plain stockinette.

You can also alternate and *decrease 1 st every 3rd row once; then decrease 1 st every 2nd row once; then rep from the * until you’ve worked 23 decreases and you’ll have reached 58 rows. By decreasing for the neck, I have removed 23 + 1 (center stitch waiting on marker) + 23 stitches from the center 111 of the front panel. This leaves 32 stitches on each side. I would bind off 11 stitches at the beginning of the next 4 rows, then 10 stitches at the beginning of the next 2 rows for the shoulder shaping and bind off the 6 steeking stitches at the end. Then it’s time to prepare the steek for cutting.

The walking foot on my sewing machine is ready to secure the steek stitches with zigzag stitching.

Using a broken zigzag stitch on my sewing machine and a walking foot, I stitched along columns 2 and 3, and 4 and 5 of the steeked stitches, leaving columns 1 and 6 untouched. Then I simply cut between the 2 center columns of steek stitches, which remain safe from unraveling with the zigzag stitches. If you don’t have a sewing machine, there are ways to prepare steeks with crochet stitches or hand-sewn stitches, and plenty of online tutorials, so don’t let no machine slow you down! Colorburst yarn self-striping pattern stays symmetrical with this steeked V-neck opening, making it look great! KNITmuch | issue 13

Designing those just-right finishing touches on the Colorburst vest

Colorburst in the Earth and Sky colorway make the perfect sweater vest.

The self-striping Colorburst yarn effortlessly adds interest to my vest so I can get creative on other design elements. We’ll look at the ribbing edgings for the V-neck and the armhole openings, and I’ll share the instructions for the 3 different textured stitches you’ve seen in my vest and the swatches that didn’t make it into the vest. To add the ribbing to the V-neck opening, we need to know the length of the diagonal edge and the number of rows that were used. In the example we’ve been looking, we had 64 rows. The diagonal measurement after I cut the steek open and the shoulders for each side lay flat is 9”. In this case, the row gauge may not match the diagonal measurement because of the shaping. I use the inches measurement to calculate how many stitches to pick up for the 2×2 ribbing and I use the row count to figure out how to distribute

After carefully cutting the steek open for the V-neck, the ribbing can be applied.

KNITmuch | issue 13

the picking up of the stitches along the edge evenly. The next important piece of information I need is my gauge for the 2×2 ribbing. I knit mine with slightly smaller needles, so when I measure my ribbing gauge along the bottom of the vest I get 25 stitches across 4”. This means that for one edge of the V-neck shaping I need 9 × 25 ÷ 4 = 56 stitches. In the end, I’ll pick up 56 stitches on each side of the V-neck opening, add the 1 stitch on the locking stitch marker, and the 46 stitches waiting on a holder for the back of the neck for a grand total of 159 stitches. This will work perfectly so that the ribbing at the valley of the V-neck will allow me to use double-decreases every other row so that the center stitch travels up vertically. Now, I sew the shoulder seams and get set to pick up stitches.

Take the ribbing gauge from the waistband.

We need to figure out how to distribute the picking up of stitches for the ribbing along the diagonal edge of the V-neck opening. • First, let’s do a little thinking through of all this. There are 64 rows, and we need to pick up 56 stitches, which means that there are 8 extra rows that we will need to skip evenly across as we pick up. • So 8 is our small number and 64 is our big number. 8 divides into 64 evenly, so we won’t need to use the “magic” formula from last article just yet. • For the neck opening we need to skip one row for every 8 we pick up stitches along. • Starting on the left edge of the neck opening, I don’t want the first or last row to be the skipped one, so I will first pick up and knit 4 stitches, then skip 1. • Then I’ll repeat [pick up a stitch in each of next 7 rows, and skip next row] 7 times, and I’ll have 3 rows remaining to pick up 1 stitch in each of them.

Using sharp and straight Symfonie Rose hooks to pick up stitches makes my life so much easier.

You can load up the crochet hook with quite a few stitches before transferring them off the tail end onto your knitting needle. I used a size 4US [3.5mm] circular needle to work the ribbing around the neck opening. The final step for this sweater vest is to add the same 2×2 ribbing edging to the armholes. The number of rows across which we need to pick up stitches will most likely not be the same as that of the neck opening, so we may need to use the “magic” formula to figure out how to distribute the ribbing stitches evenly. Starting with the 3 stitches that are bound off at the start of the armhole shaping on both front and back, we know we’ll need to pick up 6 stitches across that area. Then the armhole depth is 9”. With the row gauge of 29 rows per 4 inches, we use the calculation, 9 × 29 ÷ 4, and that gives us 65 rows to work across as well.

• Then I’ll add the stitch off the locking marker, pick up 3 sts, then [skip 1 rows, pick up 1 stitch in each of next 7 rows] 8 times, and finish with 4 more stitches. • Finally, I’ll add the 4 stitches across the back neck. • My favorite technique for picking up stitches is to use a crochet hook that doesn’t have a flat thumb rest or a thick handle on it; these Knitter’s Pride rosewood hooks are sharp and perfect for this task.

Use the crochet hook to draw up a loop in the end of each row and then slide them off onto the knitting needles.

KNITmuch | issue 13

Unique Quilting Clever Clips are the perfect tool to ensure even seams when joining the sides of the sweater vest.

I use my 2×2 ribbing gauge of 25 stitches per 4” and the same 9” measurement to see how many stitches I’ll need to pick up. 9 × 25 ÷ 4 = 56 stitches. The total will be 56 + 56 + 6 (for the bound off stitches) = 118. I don’t want my armhole ribbing bands to stick out like wings, so I’ll actually decrease the total number of stitches I need to pick up by 7%. That gives me approximately 109.74 stitches to pick up. 2×2 ribbing requires a multiple of 4 stitches when knit in the round, so I’m going to use 108 stitches in total. I still will need 6 across those bound off stitches at the base of the opening, 108 – 6 = 102. So that will be 51 stitches on each side. Now I need to know how many rows to skip when I’m picking up 51 stitches along 65 rows: 65 – 51 = 14 rows to be skipped. It’s time to use that “magic” formula to figure out how to distribute these skipped rows evenly.

All done! I painted with texture while working up this vest, just trying out something a little unconventional.

My armhole ribbing set-up row instructions will read, “Join yarn at seam under arm, pick up and knit 3 sts across bound off edge, working along edge of armhole, *[sk next row, pick up a stitch in each of next 3 rows, sk next row, pick up a stitch in each of next 4 rows] 5 times, [sk next row, pick up a stitch in each of next 4 rows] 4 times, now working from top shoulder seam, rep from * once, pick up and knit 3 sts across bound of edge, join to work in the round.” Total 108 sts. Work 2×2 ribbing for 4 rounds. Bind off in 2×2 ribbing. You’ll see in the photo above that I played around with textured stitches in my version of the vest. This was a lot of fun, but I realize that not everyone would love this, so the instructions have all been for a plain stockinette vest. If you’d like to experiment with some of the textures I’ve shared, I’ll give you instructions for them.

From left to right, the stitch patterns are called, Modified Seed Stitch, Crossed Rattan Stitch, and Tucked Brocade stitch.

KNITmuch | issue 13

I hope you share your custom sweater vest designs modelled by the men who received them. Please ask any questions you may have about particular areas you design or knit with trepidation. And now, I’ll share the instructions for these three stitch patterns. Modified Seed Stitch

Special stitch

Wrapped stitch Insert RH needle between first and second sts on LH needle and knit up a loop, place this loop on the LH needle tip. Knit that loop together with the first stitch through their back loops. Worked across an even number of stitches Row 1 (RS): Knit. Row 2: [sl 1, p1] across. Row 3: [k1, wrapped st] across. Row 4: [p1, sl 1] across. Row 5: [wrapped st, k1] across. Repeat Rows 2-5 for pattern. Crossed Rattan Stitch Cast on a multiple of 2 stitches, plus 3 for symmetry and edgings. Special Stitches Lift st Insert tip of RH needle between 2nd and 3rd sts on LH needle and knit up a loop and extend it generously across the gap towards the stitches on the RH needle. Reverse yarn over (rev-yo) Bring yarn from back of work over RH needle and return between needle tips to the back of the work.

K1tlb Knit 1 through back loop. Left-leaning increase (llinc) With LH needle tip lift loop of yarn from 2 rows below first st on RH needle and knit into this loop. Set-up Row (WS): K2, [p1, k1] across to last st, k1. Row 1 (RS): K2, [lift st, rev-yo, k1] across to last st, k1. Row 2: K1, k2tog, [p2tog, k1tbl] across to last 3 sts, p2tog, llinc, k1. Rep Rows 1 and 2 for pattern, ending with a row 2. Tucked Brocade Stitch Special Stitch

4-row tuck stitch (4tk-st) Counting horizontal strands between first stitches on both needle tips, count 4 down and insert hook below all 4 horizontal strands, yarn-over twice and knit up stitch enough to reach the current row. Cast on an even number of stitches, plus 6 for symmetry and edgings. Set-up Rows Knit 8 rows.

partially knit st over the st just worked; rep from * across to last 2 sts, k2. Row 4: Purl. Row 5: K2, [4tk-st, k2] across to last 2 sts, 4tk-st, k2. Row 6: P2, [sl 1 st knitwise releasing extra loop, p2] across. Row 7: K1, *insert RH needle as if to knit 2 sts together, knit but bring RH needle tip up between the 2 sts and only slip off first st, knit next st on LH needle, pass partially knit st over the st just worked; rep from * across to last st, k1. Row 8: Purl. Repeat Rows 1-8 for pattern. Time flies when you’re having fun knitting with self-striping Colorburst yarn, Knitter’s Pride Karbonz, and the very yummy Knitter’s Pride rosewood crochet hooks!

Charles Voth

charlesvothdesigns.ca

[Knit 1 row; purl 1 row] twice. Row 1: K3, [4tk-st, k2] across to last 3 sts, 4tk-st, k3. Row 2: P3, [sl 1 st knitwise releasing extra loop, p2] across to last st, p1. Row 3: K2, *insert RH needle as if to knit 2 sts together, knit but bring RH needle tip up between the 2 sts and only slip off first st, knit next st on LH needle, pass

KNITmuch | issue 13

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Paris Fairgrounds, 139 Silver Street, Paris, Ontario N3L 3E7 www.fleecefestival.com Standards & Guidelines For Crochet and Knitting • YarnStandards.com

Standards & Guidelines For Crochet and Knitting • YarnStandards.com Standard Yarn Weight System Standards & Guidelines For Crochet and Knitting • YarnStandards.com Standard abbreviations and terms

Categories of yarn, gauge ranges, and recommended needle and hook sizes Standard Yarn Weight System Standard Yarn Weight System Yarn Weight

alt = alternate approx = approximately beg = begin(ning) BO= bind off Symbol & Categories of yarn, gauge ranges, and recommended needle and hook CC = contrast colorsizes Category Categories of yarn, gauge ranges, and recommended needle and hook sizes ch = chain Names Yarn Weight cm = centimetre(s) Yarn WeightType of Symbol & cn = cable needle Fingering, Sock, DK, Worsted, Chunky, Sport, Bulky, Jumbo, Symbol & Yarns in co = cast on Category 10 count Fingering, Light Afghan, Craft, Baby Roving Roving cont = continue, continuing Category Category Names crochet thread Baby Worsted Aran Rug dc = double crochet Names Type of Fingering, Sock, DK, Worsted, Chunky,dec = decrease(s), decreasing Knit Gauge Bulky, Jumbo, Type of Range* inFingering, Sock, Worsted, Fingering, Chunky, Sport, Yarns in DK, 10 count Craft, dpn = double-pointed needle(s) Sport, 23–26 Bulky,7–11 LightJumbo,6 sts Afghan, Roving Roving foll = following Yarns in Stockinette10 count 33–40**Fingering, 27–32 Light 21–24 Afghan,16–20Baby Craft,12–15 Baby Category crochet thread Worsted Aran Rug and Baby sts Roving sts Roving g = gram(s) Category Stitch tocrochet thread sts Baby sts Worsted sts Aran sts Rug sts fewer hdc = half double crochet Knit Gauge 4 inches inc = increase(s), increasing Knit Gauge Range* in 6 sts 33–40** 27–32 23–26 21–246 sts 16–20 12–15in(s) = inch(es) 7–11 Range* in Recommended Stockinette and k = knit sts 12.75 mm sts 33–40** 27–32 23–26 21–24 16–20 12–15 7–11 sts sts sts sts sts 1.5–2.25 2.25–3.25 3.25–3.75 5.5–8 8–12.75 StockinetteNeedle in and and Stitch to sts 3.75–4.5 sts 4.5–5.5 fewer front and back of st (increase) kfandb or kfb = knit into sts sts sts sts sts mm mm mm mm mm mm Stitch to Metric Size fewerlarger 4mm inches ktbl = knit through the back loop 4 inches Range k2tog = knit 2 sts tog (right-leaning decrease) Recommended k3tog = knit 3 sts together (double right-leaning decrease) 12.75 mm Recommended 17 Recommended Needle in 1.5–2.25 2.25–3.25 3.25–3.75 3.75–4.5 4.5–5.5 5.5–8 m = marker 8–12.75 12.75 mm and Needle U.S. 000 to 1 1 to 3 3 to 5 5 to 7 7 to 9 9 to 11 11 to 17 and Needle in 1.5–2.25 2.25–3.25 3.25–3.75Metric Size 3.75–4.5 mm4.5–5.5 mm 5.5–8 mm8–12.75 mm and mm mm m = meter(s) mm largerup the horizontal strand between 2 stitches larger m1 = Make 1 stitch: pick Metric SizeSize Range mm mm mm Range mm mm mm mm larger from front to back and knit it tbl (lifted increase) Range Crochet MC = main color Recommended 17 Gauge*Ranges 32–42 6 sts mm = millimetre(s) Recommended 21–32 16–20 8–11 3 to 5 7–9 5 to 7 17 Needle U.S. 12–17 000 to 1 11–141 to 3 9 to 11 11 to 17 and in Single double and 7 to 9 oz = ounce(s) sts Range5 to 7 sts Needle U.S. 000 to 1 1 to 3 sts 3 to 5 Size 7 to 9 sts 9 to 11 sts 11 to 17sts and larger p = purl Crochet to fewer crochets** Size Range4 inch larger p2tog = purl 2 sts tog (decrease) Crochet patt = pattern Crochet Gauge*Ranges 32–42 6 sts Steel*** 21–32 16–20 12–176 sts15 mm 11–14 8–11 pfb = purl 7–9into front and back of stitch (increase) Recommended Gauge*Ranges 32–421.6–1.4 mm in Single double pm = place marker and 2.25–3.25 16–20 3.5–4.5 12–174.5–5.5 11–14 6.5–9 sts 7–9 9–15 sts 21–32 8–11 sts sts sts sts in Single Hook in Metric doubleRegular hook and and crochets**sts5.5–6.5mm sts mm fewer over psso = pass slipped stitch mm mm to sts mm sts sts Crochet sts mm Crochet to Size Rangecrochets**2.25 mm fewerlarger RS = right side 4 inch rem = remain(ing) 4 inch rep = repeat Steel*** 15 mm Recommended Steel*** Steel*** 1.6–1.4 mm 2.25–3.25 3.5–4.5 4.5–5.5 6.5–9 rev = reverse 9–15 Recommended 15 mm Hook in Metric 5.5–6.5mm and rnd = round Q Recommended 1.6–1.4 mm 6, 7, 82.25–3.25 3.5–4.5 4.5–5.5 Regular hook I–9 mm 6.5–9K–10 1⁄2 mm 9–15M-13 mm mm mm 5.5–6.5mmto and and Hook in Metric SizetoRange sc = single crochet larger Hook U.S.Regular Size hookRegular mm B–1 to E–4 mm E–4 7 mm 7 to I–9 mmto M-13 mm to Q 2.25 mm largerlarger Size RangeRange sl = slip K–10 1⁄2 2.25 mm hook skp = slip one st, knit next st, pass slipped st over knit st (dec) B–1 ssk = slip, slip, knit: slip 2 sts knitwise, 1 at a time, insert left-hand needle Steel*** into front of both Qsts and knit them tog (left-leaning decrease) Steel*** Recommended 6, 7, 8 I–9 1 commonly used gauges and needle or hook sizes for specific yarn categories. K–10 ⁄2sssk = slip M-13 next three stitches individually, knitwise. Insert tip of left Q Recommended* GUIDELINES 6, 7, 8 ONLY: The above reflect the mostHook and U.S. Size RegularI–9 B–1 to E–4 E–4 to 7 7 to I–9 to 1 K–10 lacy, ⁄2 openwork M-13patterns. Accordingly, a 1 needle to M-13 to Q from front to back into the fronts of these three stitches and Lace weight yarns are usually knitted or crocheted on larger needles and hooks to create and Hook U.S. Size** Regular B–1 to E–4 E–4 to 7 7 to I–9 to ⁄ 2 larger(double left-leaning decrease) Range hook K–10 gauge range is difficult to determine. Always follow the gauge stated in your pattern. to M-13 knit them together to Q 1 larger Range hook B–1K–10 ⁄2 st(s) = stitch(es) *** Steel crochet hooks are sized differently from regular hooks--the higher the number, the smaller the hook, which is the reverse B–1 St st = stocking stitch of regular hook sizing. tbl = through back loop This Standards & Guidelines booklet and downloadable symbol artwork are available at: YarnStandards.com * GUIDELINES ONLY: The above reflect the most commonly used gauges and needle or hook sizes for yarn categories. togspecific = together * GUIDELINES ONLY: The above reflect the most commonly used gauges and needle or hook sizes for specific yarn categories. ** Lace weight11 yarns are usually knitted or crocheted on larger needles and hooks to create lacy, openwork patterns. Accordingly, a tr = treble crochet gaugeneedles range isand difficult toto determine. Always followpatterns. the gauge stated in your ** Lace weight yarns are usually knitted or crocheted on larger hooks create lacy, openwork Accordingly, a pattern. WS = wrong side gauge range isKNIT difficult to determine. Always follow the gauge stated in your pattern. yarn which over is the reverse much | issue 13 *** Steel crochet hooks are sized differently from regular hooks--the higher the number, the smalleryothe=hook,

regular hook sizing. *** Steel crochet hooks are sized differently from regular of hooks--the higher the number, the smaller the hook, which is the reverse of regular hook sizing. This Standards & Guidelines booklet and downloadable symbol artwork are available at: YarnStandards.com