Neptunia Hat in malabrigo Mechita book 15
SPRING 2020 NEWSLET TER
TA B L E O F
Contents DESIGNER INTERVIEW
| 4
Katrin Schubert F E AT U R E D K N I T PAT T E R N
| 10
Wheat and Chaff F E AT U R E D C R O C H E T PAT T E R N
| 16
Orient Express BEHIND THE SCENES
| 26
Meet Jesica THE COLORS OF MALABRIGO
| 30
Mysteries of the Universe BOOK SPOTLIGHT
| 32
Book 15: Time for Hats! YA R N S P O T L I G H T
| 34
TriBeCa in Rios UPCOMING EVENTS
| 36
Trunk shows
Rosario Hat in malabrigo Sock, book 15
DESIGNER INTERVIEW
Katrin Schubert Katrin Schubert is a German knitwear designer. She started to knit with her mother and grandmother when she was a child; it was very common in her town for people to knit their own clothes. Later on, she became an architect and as a way to “distract� herself, she was always knitting and has given us the most beautiful brioche patterns! Read the full interview to find out more about this amazing designer.
How did you learn to knit and who taught you? I learned to knit from my mother and my grandmother. As a young girl I used to knit a lot of clothes for myself. It was the late eighties, so of course there were lots of the typical multicolored Fair Isle sweaters :)) I loved them!
4 | D e signe r I nte r vie w
What was your very first project? I started with a long shawl made completely of purl stitches and some sock. Right from the start I loved to try new stitches or complicated patterns, which were obviously for advanced knitters. So of course the beginning was not tearless! I grew up in the former East Germany, where it was quite essential to make your own clothes.
When did you discover malabrigo yarn? What I first discovered was a colorway of malabrigo - Sand Bank! I was looking for a neutral color for the Sweet Seventeen Shawl in fingering weight yarn. This colorway, in combination with English Rose, was just perfect for this pattern! I still love all kind of yarns in Sand Bank, because it is great to combine with bright colors!
Noella Hat
What is your favorite malabrigo yarn and color? For brioche hats I prefer malabrigo Rios, for shawls Mechita, and Mecha is on my list as well. Last year I was using the colorway Cereza in quite a few projects the Briocherry hat was designed with malabrigo Rios in Cereza as a contrasting color. The Silvestra Shawl sample is shown in malabrigo Mecha in Cereza. This year I have planned a project in Camel and Cereza - a very classic combination. What inspired you to start designing? A few years ago I was knitting a lot of accessories for my kids. I am a mother of five sons and they were always in need of hats, shawls and mittens. When the boys became older, they refused to wear hand knit things. By this time knitting had become a daily habit for me and I did not want to miss it. So I continued casting on new projects and new patterns, but I was intimidated by pattern writing! In the beginning it took quite some effort to start, but soon after it became a part of the designing process.
(continue)
Xarah Pullover
What other designers do you admire?
Is Brioche your favorite technique?
I have a long list of favorite designers - you can find their patterns on the first pages of Ravelry regularly! First of all I admire Elizabeth Zimmermann for her inventions and her way of writing about knitting. She has always made me feel that I can do this easily (even when it was rather tricky!) There are quite a few German designers among my favorites: Martina Behm, Isabell Kraemer and Lisa Hannes. There is also a lively community of brioche designers too: Nancy Marchant (the queen of brioche!), Lesley Robinson and Stephen West.
I always try to be open to experimenting with other techniques: lace (Pastella Hat), cables (Red Contemplation shawl, Frohlocke hat)) or simply garter (Adventina Shawl). But when I cast on a new brioche pattern after all these projects, it feels like coming home! Meanwhile, I also think it is great to combine brioche stitches with other techniques: brioche + lace (Briola shawl) or Brioche + garter (Berrit hat) so it never gets boring!
You are an architect, does your profession inspire you when knitting? Architecture might be about colors and patterns but in a very small way! In my case it is rather the opposite, I love knitting in order to distract myself from architecture! If you could choose a perfect place to knit, which place would you pick?
Why do you think that many knitters are afraid to try it? I think brioche (one-colorbrioche) was invented to avoid purl stitches! Only with twocolor-brioche patterns do you have to start with brioche purl stitches, increasing and decreasing stitches, as with every lace pattern too. Brioche patterns are quite long, because you have to write instructions on both sides for both colors. This may be a reason why some think it is a technique for advanced knitters. (continue)
I would definitely pick on a beach chair, on the beach! Knitting outside in the woods could be nice too!
D e si gne r I nte r v i e w | 7
What advice would you give? I designed some “one-rowwonders” with one pattern row only (Weizen hat, WHEATandCHUFF cowl, My daily Brioche hat) or one-colorbrioche patterns without a single purl stitch (Ubergang shawl) to encourage knitters to try brioche. Once you try it, you will see that it isn’t more complicated than other techniques. Do you have another hobbies besides knitting? Three of my five boys are still living at home, so I spend a lot of time in the kitchen cooking and baking (these also happen to be one of my hobbies). I regularly spend hours on the sidelines of a soccer field as well. On the weekends we love to take walks in the woods which surround us. I am very grateful that in my everyday life there is a timeframe for knitting and designing!
8 | D e signe r I nte r vie w
Do you have any new and exciting plan or projects for the upcoming months? Of course! The upcoming months are perfect for new projects! Last summer was really hot in Germany and I really didn’t feel like grabbing my needles. I started to knit pullovers, sweaters and tops and I am very excited about them! I felt that it was time to go for larger projects, but surely if I have a new idea for a brioche pattern, I will cast on a new hat immediately!
~ CONNEC T WITH
K AT R I N
Novemberlein
F E AT U R E D K N I T PAT T E R N
Wheat & Chaff designed by Katrin Schubert P A T TER N INFORM A TI ON SI Z ES
G AUG E
Small (medium)
16 sts / 20 rows = 4″ / 10cm in Brioche Stitch
F I N I SH ED MEA SUR E M E N T S
NE E DL E S
Circumference: 24 (27.5)″ / 62 (70)cm
US 8 / 5mm 16 (20)″ / 40 (50)cm circular needle, or size needed to obtain gauge
Height: 14″ / 36cm
NOT IONS
YARN A M O U N T S
2 (3) skeins malabrigo Worsted or Rios; 360 (450) yards / 330 (410m)
Stitch marker Tapestry needle
Small sample shown in malabrigo Worsetd in Natural #63 and Black #795 Medium sample shown in malabrigo Rios in Natural #63 and Ravelry Red #611 A B B R EVIATIO NS []
work instructions inside brackets as many times as directed
″
inches
BO
bind off
brk
Brioche knit, knit stitch together with its yarn over
10 | Fe atu re d K nit Patter n
brp Brioche purl, purl stitch together with its yarn over
EOR end of row/round
RH
right hand
k
rnd
round
CC
contrast color
mm millimeter(s)
sl
slip
cm
centimeter(s)
MC
main color
sl1yo slip 1, yarnover
CO
cast on
p
purl
st(s)
stitch(es)
pm
place marker
wyif
with yarn in front
rep
repeat(s)
yo
yarn over
knit
Fe at ure d K ni t Pa t ter n | 11
12 | Fe a tu re d K nit Patter n
N OTES
T E C HN IQ U E S
The cowl is worked in the round beginning with straight brioche ribbing in the round. Work brioche pattern rounds in color indicated (MC or CC). Do not break yarn between rounds, simply drop the previous color leaving it in front and pick up the new one without crossing yarns.
R P4INC
If you are counting rounds, count only the stitches going up on the knit column. You have to work 4 rounds, 2 with each color, to count 2 rounds. I recommend Nancy Marchant’s classes and wonderful books on brioche knitting. Her online class offers more information on the intriguing brioche technique.
Brp1, leaving stitch on the LH needle, yarn over, p1, yarn over and p1 into the same stitch, 4 stitches increased (In the following MC round, when you get to the increased yo sts, just k1 instead of brk1, as these sts do not have their yarn overs yet, as follows: sl1yo, k1, sl1yo, k1 , sl1yo) BR R S L DE C
Involving 3 stitches, 2 stitches decrease slanting right, slip first stitch knitwise, knit next stitch, pass slipped stitch over, place stitch on LH needle and pass the following stitch over, place stitch on RH needle BR L S L DE C
Involving 3 stitches, 2 stitches decrease slanting left, slip first stitch knitwise, brk next two stitches together, pass slipped stitch over S L 1Y O (following a p or brp stitch)
Working yarn is in front, slip the next stitch purlwise, bring the yarn back over the needle (and over the slipped stitch) then to the front between needles, into position to work the following stitch (slipped stitch an yo are considered one stitich) S L 1Y O (following a k or brk stitch)
Bring the yarn to front between needles, slip next stitch purl-wise, bring yarn to the back over the needle (slipped stitch and yo are considered one stitch)
Fe a t ure d K ni t Pa t ter n | 13
D I RECTIO N S Using MC and 16 (20)″ / 40 (50)cm circular needle, CO 96 sts (120 sts) using the Twisted German CO method. Do not turn work, continue working on this Right Side. Slide work to the other end of circular needle and join CC yarn for the set-up row. Set-up row: Using CC yarn, wyif, *sl1yo, p1* rep to end of row, pm and join in round, being careful not to twist stitches and to keep the yarn over the first slipped stitch.
Rnd 2 CC: * sl1yo, brp4inc, sl1yo, brp1* rep from * to end of rnd Rnd 3, MC: * brk1, sl1yo, (k1, sl1yo) 2 times, brk1, sl1yo, * rep from * to end of rnd Rnd 3, CC: * sl1yo, brp1 *, rep from * to end of rnd Rnd 4-6, MC: * brk1, sl1yo* rep from * to end of rnd Rnd 4-6, CC: * sl1yo, brp1 *, rep from * to end of rnd Repeat rnds 2-6: 10 more times, ending with rnd 6, CC.
Now you are ready to start knitting two-color brioche in the round.
FINIS HING
B RI OCH E
Break CC yarn, BO all sts in the following MC round:
Rnd1, MC: *brk1, sl1yo* rep to end of rnd, drop MC yarn in front of work
Brk1, * yo, p1 - on your RH needle: slip the yo over the purled st, then the following brk st over the purled st.
Rnd1, CC: *sl1yo, brp1 *, rep to end of rnd, drop CC yarn in front of work
Brk1, on your RH needle: sl the second st over this brk st* rep to EOR, break MC yarn and pull through the last st.
Repeat Rnd 1, MC and Rnd 1, CC: 9 more times Begin brioche Wheat and Chaff pattern, worked over 8 sts and 5 rnds W HE A T A N D CH A FF P AT T E R N
Rnd 2, MC: * brRsldec, sl1yo, brLsldec, sl1yo, repeat from * 11 (14) more times to end of rnd
14 | Fe a tu re d K nit Patter n
Repeat Rnd 1, MC & Rnd 1, CC: 6 more times.
Weave in ends separately. Wet or steam block and smooth brioche stitches carefully.
F E AT U R E D C R O C H E T PAT T E R N
Orient Express designed by Rachel Henri P A T TER N INFORM ATI ON SI Z ES
NOT IONS
One size
Yarn needle (to weave in ends)
F I N I SH ED MEA SUR E M E N T S
2 locking stitch markers (optional, to easily identify the start and end of each strip)
Width: 27½″ / 70cm
G AUG E
Length: 55″ / 140cm
17 sts / 18 rows = 4″ / 10cm
YARN A M O U N T S
2 skein malabrigo Mechita, #412 Teal Feather (MC) 1 skeins malabrigo Mechita, #895 Dried Orange (CC)
Gauge is not critical for this pattern. Yet make sure you work a sample to assess the drape of your finished object. If your gauge differs, please keep in mind that you may need more or less yarn.
HOO KS
US G / 4.5mm Even though this pattern is made in Tunisian crochet, you do not need a long crochet hook. A standard crochet hook on which you can hold a maximum of 15 loops will do. Choose a hook size that gives a nice drape to your project.
A B B R EVIATIO NS ″
inches
RetP Return pass
Tks Tunisian knit stitch
ch
chain
sc
single crochet
decr
decrease
sl st
slip stitch
twd twisted Tunisian Tss simple stitch
st
stitch
FwdP Forward pass incr
yo
yarn over
increase
Fe a t ure d C ro c he t Pa t ter n | 17
S P ECIAL S TIT C HES A “full row” in Tunisian crochet is made of 2 parts: the forward pass (FwdP) and the return pass (RetP). You never turn your work, you always keep the right side of your work facing you. When working FwdP, you keep all the loops you pull up on your hook. When working RetP, you pull yarn through your loops. TU N ISIA N KN IT S T I T C H ( T K S ):
Insert your hook from front to back between the front and back vertical bars under the RetP chain, yo and pull up a loop. TW IST ED T U N ISIA N S I M P L E S T I T C H (T WD T S S ):
Hold your hook so that its head is facing downwards, grab the next front vertical bar with the chin of your hook from the left, pull bar to the right and turn your hook down to twist the bar around the hook, yo and pull up a loop. Video to show how to work a slanted Tss and a twisted Tss: https://rachelhenridesign.blogspot.be/2018/03/pointtorse-et-point-torse-inverse.html FWDP:
In this pattern, all FwdP start with a twd Tss. RETP :
In this pattern, RetP DO NOT start with 1 ch. In strip 1, like in all other strips in this pattern, RetP DO NOT start with 1 ch. However, the first 2 loops closed together at the start of RetP do not count as a decrease. They remain 2 distinct stitches. When reaching the end of the next FwdP, work a twd Tss in the second to last stitch. Then work a classic edge stitch by inserting your hook under both strands of yarn on the side. See photos in annex. RetP A are worked as follows: *yo, pull through 2 loops on hook, repeat from * until there is only 1 loop left on hook. RetP B (only in odd-numbered strips) are worked as follows: * yo, pull through 2 loops on hook, repeat from * until there are only 3 loops left on hook, yo, pull through last 3 loops on hook. 18 | Fe a tu re d C rochet Patter n
DE CR E AS E (DE CR ):
RetP B end by pulling yarn through the last 3 loops on hook. Therefore the row decreases by 1 stitch at the end of RetP B. When you start the following FwdP, consider this group of 3 loops closed together as 1 edge stitch into which you do not work. INCR E AS E (INCR ):
The even-numbered strips have a section of 12 rows with an increase before the connecting stitch. This increase is worked by picking up a loop where the connecting stitch from the previous row was worked. CONNE CT ING S T IT CH:
Stitch made to « connect » the end of a FwdP to the corresponding edge stitch of the previous strip made. There is no connecting stitch in strip 1, only in all following strips, to join as you go all new strips to the previous strips. Connecting stitches are represented by the letter C in the graph. To consolidate the join between 2 strips and avoid edge stitches to stretch, when working connecting stitches in this pattern, it is very important to insert the hook under the back loop of the edge stitch AND into the last chain of the corresponding RetP. See photos in annex.
CO NS T R UCTION P RI NC I P L ES This rectangular shawl is made of a series of strips in different colors. You never turn your work. You always keep the right side of work facing you. Direction of work is the same for all strips. Each new strip is connected to the previous strip by using the « join-as-you-go » method. As from the second strip, all FwdP end with a connecting stitch (black dotted lines).
Odd-numbered strips are worked in main color C1. Even-numbered strips are worked in another color C2. When you have completed a strip, cut yarn and start a new strip by joining new color yarn into the 1st ch of the foundation row. The use of markers (black dots) makes it easy to identify the first and last ch of each strip.
Strip 6
Strip 8
Strip 5
Strip 7
Direc�on of work
Strip 4 Strip 3
Strip 9
Strip 2 Strip 1
End of each strip
Start of each strip 15 ch
2 ch
14 ch
2 ch
14 ch
2 ch
14 ch
2 ch 2 ch
Fe a t ure d C ro c he t Pa t ter n | 19
D I RECTIO N S STR IP 1 ( CO L O R C 1)
S T R IP 2 (COL OR C2)
Foundation row: Ch 15 and place a marker M1 in 1st ch from hook
Foundation row: Join new yarn where marker M1 is placed and ch 2. Move M1 in 1st ch from hook.
FwdP: Starting in 2nd ch from hook, pick up a loop in each ch (15 ch on hook) / RetP: A
FwdP: Pick up a loop in 2nd ch from hook (2 st on hook), 1 connecting st (3 st on hook) / RetP: A
Rows
FwdP
RetP
Rows
FwdP
RetP
2
1 twd Tss, (1 Tks, 1 twd Tss) 6 x, edge st (15 st on hook)
A
2
1 twd Tss, connecting st (3 st on hook)
A
3 -174
Repeat row 2
A
3
2 twd Tss, (1 Tks, 1 twd Tss) 5x, 1 twd Tss, edge st (15 st on hook)
A
175 (incr) 1 twd Tss, 1 incr, 1 connecting st (4 st on A hook) – See Special st and graph
4 -173
Repeat rows 2 and 3
A
174
1 twd Tss, (1 Tks, 1 twd Tss) 6 x, edge st (15 st on hook)
B (decr)
176 (incr) 1 twd Tss, 1 Tks, 1 incr, 1 connecting st (5 A st on hook)
175
1 twd Tss, (1 Tks, 1 twd Tss) 5 x, 1 twd Tss, edge st (14 st on hook)
B (decr)
177 (incr) 2 twd Tss, 1 Tks, 1 incr, 1 connecting st (6 A st on hook)
1 twd Tss, (1 Tks, 1 twd Tss) 5x, edge st (13 st on hook)
B (decr)
178 (incr) 1 twd Tss, (1 Tks, 1 twd Tss) 1x, 1 Tks, 1 incr, 1 connecting st (7 st on hook)
A
176
1 twd Tss, (1 Tks, 1 twd Tss) 4x, 1 twd Tss, edge st (12 st on hook)
B (decr)
179 (incr) 2 twd Tss, (1 Tks, 1 twd Tss) 1x, 1 Tks, 1 incr, 1 connecting st (8 st on hook)
A
177
1 twd Tss, (1 Tks, 1 twd Tss) 4x, edge st (11 st on hook)
B (decr)
180 (incr) 1 twd Tss, (1 Tks, 1 twd Tss) 2x, 1 Tks, 1 incr, 1 connecting st (9 st on hook)
A
178
1 twd Tss, (1 Tks, 1 twd Tss) 3x, 1 twd Tss, edge st (10 st on hook)
B (decr)
181 (incr) 2 twd Tss, (1 Tks, 1 twd Tss) 2x, 1 Tks, 1 incr, 1 connecting st (10 st on hook)
A
179
A
180
1 twd Tss, (1 Tks, 1 twd Tss) 3x, edge st (9 st on hook)
B (decr)
182 (incr) 1 twd Tss, (1 Tks, 1 twd Tss) 3x, 1 Tks, 1 incr, 1 connecting st (11 st on hook)
1 twd Tss, (1 Tks, 1 twd Tss) 2x, 1 twd Tss, edge st (8 st on hook)
B (decr)
183 (incr) 2 twd Tss, (1 Tks, 1 twd Tss) 3x, 1 Tks, 1 incr, 1 connecting st (12 st on hook)
A
181
1 twd Tss, (1 Tks, 1 twd Tss) 2x, edge st (7 st on hook)
B (decr)
184 (incr) 1 twd Tss, (1 Tks, 1 twd Tss) 4x, 1 Tks, 1 incr, 1 connecting st (13 st on hook)
A
182
1 twd Tss, (1 Tks, 1 twd Tss) 1x, 1 twd Tss, edge st (6 st on hook)
B (decr)
185 (incr) 2 twd Tss, (1 Tks, 1 twd Tss) 4x, 1 Tks, 1 incr, 1 connecting st (14 st on hook)
A
183
1 twd Tss, (1 Tks, 1 twd Tss) 1x, edge st (5 st on hook)
B (decr)
186 (incr) 1 twd Tss, (1 Tks, 1 twd Tss) 5x, 1 Tks, 1 incr, 1 connecting st (15 st on hook)
A
184 185
2 twd Tss, edge st (4 st on hook)
B (decr)
186
1 twd Tss, edge st (3 st on hook)
A
187 -275 Repeat row 186
2 twd Tss, (1 Tks, 1 twd Tss) 5x, 1 twd Tss, A 1 connecting st (15 st on hook)
188
1 twd Tss, (1 Tks, 1 twd Tss) 6x, 1 connecting st (15 st on hook)
A
189 -275
Repeat rows 187 et 188
A
A
End of strip 1: Place marker M2 in the edge st of last row, then slip st in the twd Tss and the edge st. Cut yarn.
20 | Fe atu re d C roch et Patter n
187
End of strip 1: The connecting st of last row is worked where marker M2 is placed. Move M2 to the beginning of last row. Make 1 sl st in twd Tss and 1 sc in Tks across and end with 1 sl st in last connecting st. Cut yarn.
STR IP 3 ( CO L O R C 1)
FOL L OWING S T R IPS
Foundation row: Join new yarn where marker M1 is placed and ch 14. Move M1 in 1st ch from hook.
Repeat strips 2 and 3 twice, then make strip 2 once more. Total: 8 strips. For a wider shawl, work more strips. You will then need more yarn than indicated in this pattern.
FwdP: Starting in 2nd ch from hook, pick up a loop in each ch (14 st on hook), 1 connecting st (15 st on hook) / RetP: A
L AS T S T R IP (COL OR C1)
Rows
FwdP
RetP
2
1 twd Tss, (1 Tks, 1 twd Tss) 6 x, connecting st (15 st on hook)
A
Foundation row: Join new yarn where marker M1 is placed and ch 2.
3
2 twd Tss, (1 Tks, 1 twd Tss) 5x, 1 twd Tss, connecting st (15 st on hook)
A
FwdP: Pick up a loop in 2nd ch from hook (2 st on hook), 1 connecting st (3 st on hook) / RetP: A
4 -173
Repeat rows 2 and 3
A
Rows
FwdP
174
1 twd Tss, (1 Tks, 1 twd Tss) 6 x, connecting st (15 st on hook)
B (decr)
2 -275
1 twd Tss, 1 connecting st (3 st on hook) A
175
1 twd Tss, (1 Tks, 1 twd Tss) 5 x, 1 twd Tss, connecting st (14 st on hook)
B (decr)
176
1 twd Tss, (1 Tks, 1 twd Tss) 5x, connecting st (13 st on hook)
B (decr)
177
1 twd Tss, (1 Tks, 1 twd Tss) 4x, 1 twd Tss, connecting st (12 st on hook)
B (decr)
178
1 twd Tss, (1 Tks, 1 twd Tss) 4x, connecting st (11 st on hook)
B (decr)
179
1 twd Tss, (1 Tks, 1 twd Tss) 3x, 1 twd Tss, connecting st (10 st on hook)
B (decr)
180
1 twd Tss, (1 Tks, 1 twd Tss) 3x, connecting st (9 st on hook)
B (decr)
181
1 twd Tss, (1 Tks, 1 twd Tss) 2x, 1 twd Tss, connecting st (8 st on hook)
B (decr)
182
1 twd Tss, (1 Tks, 1 twd Tss) 2x, connecting st (7 st on hook)
B (decr)
183
1 twd Tss, (1 Tks, 1 twd Tss) 1x, 1 twd Tss, connecting st (6 st on hook)
B (decr)
184
1 twd Tss, (1 Tks, 1 twd Tss) 1x, connecting st (5 st on hook)
B (decr)
185
2 twd Tss, connecting st (4 st on hook)
B (decr)
186
1 twd Tss, connecting st (3 st on hook)
A
187 -275 Repeat row 186
RetP
E ND OF WOR K
Weave in ends and wet block. Blocking is important to open up the stitch definition and obtain a better drape.
G R AP H HOW T O R E AD T HE G R APH
The graph in this pattern is read from the bottom up. It shows all the strips side by side and highlights how they are connected. Work one strip at a time. Once you reach the top of one strip, go back down to follow the details on the graph for the next strip. Each row represents a full row in Tunisian crochet.
A
End of strip 3: The connecting st of last row is worked where marker M2 is placed. Move M2 to the beginning of last row. End with 1 sl st in twd Tss and 1 sl st in connecting st. Cut yarn.
Symbols at the bottom of each row refer to instructions for the FwdP. They are read from right to left. Symbols at the top of each row refer to instructions for the RetP. They are read from left to right. The foundation row (row 1) includes ch. The count of ch starts from the hook. Place marker M1 in the 1st ch from hook before starting picking up loops in the 2nd ch from hook and across. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ E Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E → ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 1 I I I I I I I I I I I I I I E ← start → ch ch ch ch ch ch ch ch ch ch ch ch ch ch ch row 2
15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
M1
For lay-out reasons, the graph does not show all rows. The grey shape hides most of the 2-row repeats.
Fe a t ure d C ro c he t Pa t ter n | 21
GR A PH end
sl sl
~
~ E ~ E ~ E ~ E ~ E ~ E ~ E ~ E
sl sl sl sc sl sc sl sc sl sc sl sc sl sl
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ E Ȣ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 274 M2 C Ȣ E Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E M2 ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 273 E Ȣ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 190 E Ȣ C Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 189 E Ȣ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 188 E Ȣ C Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 187 E Ȣ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 186 E Ȣ C + Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E ~ ˄ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 185 E Ȣ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ˄ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 184 E Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E ~ ~ ~ ˄ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 183 E Ȣ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ˄ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 182 E Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E ~ ~ ~ ~ ~ ˄ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 181 E Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ~ ~ ˄ ~ ~ ~ ~ ~ ~ ~ ~ row 180 E Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E ~ ~ ~ ~ ~ ~ ~ ˄ ~ ~ ~ ~ ~ ~ ~ row 179 E Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ˄ ~ ~ ~ ~ ~ ~ row 178 E Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ˄ ~ ~ ~ ~ ~ row 177 E Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ˄ ~ ~ ~ ~ row 176 E Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ˄ ~ ~ ~ row 175 E Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ˄ ~ ~ row 174 E Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 173 E Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 172 E Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 171 E Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 170 E Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 5 E Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 4 E Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 3 E Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ row 2 E Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C Ȣ E → ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ → ~ ~ → row 1 I I I I I I I I I I I I I I E ← C I E ← → J ch ch → start → ch ch ch ch ch ch ch ch ch ch ch ch ch ch ch row 275
~
~ Ȣ ~ Ꙩ ~ Ȣ ~ Ꙩ ~ Ȣ ~ Ꙩ ~ Ȣ ~ Ꙩ
15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
Strip 1
M1
2 1
sl sl
Strip 2
~ E ~ E ~ E ~ E ~ E ~ E ~ E ~ E
sl sl sl sc sl sc sl sc sl sc sl sc sl sl
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ M2 C Ȣ C Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E M2 ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ C Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ C Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ C + Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E ~ ˄ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ˄ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E ~ ~ ~ ˄ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ˄ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E ~ ~ ~ ~ ~ ˄ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ~ ~ ˄ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E ~ ~ ~ ~ ~ ~ ~ ˄ ~ ~ ~ ~ ~ ~ ~ C Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ˄ ~ ~ ~ ~ ~ ~ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ꙩ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ˄ ~ ~ ~ ~ ~ C Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ˄ ~ ~ ~ ~ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ꙩ Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ˄ ~ ~ ~ C Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C + Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ˄ ~ ~ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ȣ E C Ȣ E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ Ꙩ Ȣ E C Ȣ E → ~ ~ → ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ C I I I I I I I I I I I I I E ← C I E ← → J ch ch → J ch ch ch ch ch ch ch ch ch ch ch ch ch ch
M1
~
~
~ Ȣ ~ Ꙩ ~ Ȣ ~ Ꙩ ~ Ȣ ~ Ꙩ ~ Ȣ ~ Ꙩ
14 13 12 11 10 9 8 7 6 5 4 3 2 1
M1
2 1
M1
sl sl
~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C Ȣ E ~ ~ C I E ← J ch ch 14 13
Final strip
Following strips, repeat 3 �mes or more as desired
GR A PH K EY
Ꙩ Tunisian knit st (Tks) Ȣ Twisted Tunisian simple st (twd Tss) ^ pull yarn through 3 loops ~ pull yarn through 2 loops
E edge st C connecting st made in corresponding edge st of previous strip
+ increase M1, M2 markers J join new yarn where marker M1 is placed
ch sl sc
chain slip stitch single crochet
Fe a t ure d C ro c he t Pa t ter n | 23
A N NEX STR IP 1 – ED GE S T AT T H E E N D O F FWD P Edge st
Twd Tss
1. In strip 1, all FwdP end with at least 1 twd Tss (yellow) and 1 edge st (blue).
4. It may be tricky to insert the hook in the vertical bar of the twd Tss from previous row.
1
2
2. RetP DO NOT start with 1 ch.
3
Start RetP with a yo, then draw yarn through 2 loops. These 2 loops closed together ARE NOT a decrease. The edge st (blue) and the twd Tss (yellow) remain 2 distinct sts. 3. At the end of the following FwdP, do not insert hook into these 2 loops together. Make 1 twd Tss in the twd Tss (yellow), then make 1 edge st in the edge st (blue).
To grab the vertical bar from the left more easily, first insert hook under the vertical bar from the right (1) and pull the vertical bar to loosen it. Then remove hook (2) and work a twd Tss from the left (3).
5. The edge st is worked by inserting the hook under the 2 strands of yarn on the side, yo and pull up a loop.
Does it really matter if I start strip 1 RetP without 1 ch? Yes and no. The difference before blocking will not be obvious. However, after blocking, an edge worked with 1 ch will not be as neat as an edge worked without a ch at the start of RetP. with 1 ch
Compare and see what you prefer to do.
without 1 ch
O DD - N U MB ERED S T R I P S : D E C R E AS E AT T H E E ND OF R E T P
You decrease by 1 st when you end RetP by pulling yarn through 3 loops (yellow). When starting the following FwdP, consider this group of 3 loops closed together as 1 edge st. Start by making a twd Tss in the next vertical bar (blue).
24 | Fe a tu re d C rochet Patter n
START O F A N EW S T R I P
The bottom edge of your work is better aligned across strips when you join yarn for a new strip in the 1st ch from hook in the foundation row of the previous strip. Do not join yarn in the edge st of the foundation row. The edge st is the loop on your hook when you have completed the foundation chains before starting picking up loop in row 1. The 1st ch from hook is where you place M1 and where you want to join the new yarn. The 2nd ch from hook is where you pick up the 1st loop for the foundations row.
CON N ECT IN G ST I T C H
1. To make a connecting st in this pattern, insert hook under the back loop of the edge st (blue) AND in the last ch (orange) from the corresponding RetP. When the front side of work is facing you, this last ch (orange) is not easy to see at first sight.
E VE N-NUMBE R E D S T R IPS : INCR E AS E BE FOR E T HE CONNE CT ING S T ITCH connecting st incr
twd Tss
1. The even-numbered strips have a section of 12 rows with an increase before the connecting stitch. This increase is worked by picking up a loop in the same place where the connecting stitch from the previous row was worked.
2. When you tilt work towards you and the edge of work is facing you, this ch (orange) shows between the back loop (blue) and the front loop of the edge st.
The photo here shows how to work the 1st row with incr. Start with 1 twd Tss, then make 1 incr (pick up a loop in the same place where you worked a connecting st in the previous row) and end with a connecting st in the corresponding edge st.
3. On the back side of work, this ch (orange) is easy to spot.
2. You no longer have 3 st, but 4 st on your hook.
4. To make a connecting st, it is important to insert the hook under the back loop of the edge st (blue) AND in the ch from the RetP (orange). Then yo and pull up a loop. Connecting st worked this way consolidate the join between 2 strips and avoid edge stitches to stretch.
connecting st incr Tks
twd Tss
3. Make a RetP A. For the following FwdP, proceed in the same fashion: follow indications in the written instructions and graph, then work 1 incr (by picking up a loop in the same place where you worked a connecting st in the previous row) and finish with a connecting st.
Fe a t ure d C ro c he t Pa t ter n | 25
BEHIND THE SCENES
Meet Jesica Every season, in our “Behind the scenes,” we like to introduce one of our beloved employees, who are the heart of malabrigo. In this edition, we’d like you to meet Jessica. She works in our mill in Peru and she has been with us for over eight years. She has been in charge of creating new colors, new techniques and quality control. So, we owe her many of the beautiful colors we all love! How long have you been working at malabrigo?
In the lab, I create new colors, as well as new dyeing methods.
I started to work here at malabrigo eight years ago.
What does a typical work day look like?
What are your duties and responsibilities?
Well for the most part, each day when I arrive to the mill I take care of organizing the colors we need to dye that day. Which colors we need to dye according to the upcoming exports and according to the orders we have to fulfill for stores (I spoke beforehand with the person in charge of that). Then, I go to the classification area and explain to the ladies there what our activities for the day will be; such as how many kilos they need to classify by the end of the day and which colors. Also, I guide them to organize the skein in a
When I began to work here at malabrigo in Peru, I used to dye skeins and classify them, so that all skeins in a bag would match. Then, after a few years, I started to focus more on quality control and the color development area in the Lab. What I do is check that the dyed skeins are perfect, and as similar to our color cards as possible (without color concentration blocks, etc) and well packed.
certain way while packaging it, so that the final products look great! After organizing what is needed in the dyeing and classification area, I go to the lab and create the test colors, according to the “recipes” or ideas Antonio sends from Uruguay (particularly the speckled colors and new methods that are my specialty). Once those tests are dry, I always try to knit a swatch or the whole skein, depending on the case, so that we can see what effect it creates when knitted and send photos to Antonio, or I wait until he comes to Peru. Finally, when the day ends, I do the last quality control to make sure everything is right and ready to export.
(continue) Be hi nd t he S c en es | 27
Which part of your job do you enjoy the most? Well, definitely what I enjoy the most is doing tests for new colors and the specific test Antonio often requests. I love doing that. Mixing colors, recipes and in the end obtaining a gorgeous skein as a result of all the hard work and creativity put into that. Creating new methods and new colors is, without a doubt, what I love doing here. What is it like to be in the process of color-making? In the first place, we always try to innovate in techniques and color palettes that we haven’t tried out yet and that we see are trendy among knitters. We always try to make new things to surprise our customers (and ourselves!). I always send Antonio photos of what I’m making, so he can tell me which things we have to change and what will work best with that new design. Making the right recipe for a new color takes a lot of time, due to the fact that in the lab we may come up with great results but then, when making a big batch we can encounter many problems. For example, making a color in the lab can be fast but then when dyeing big quantities such as 100 or 200kg, we find out that the recipe
28 | B e hind the S cen es
fails, or that the method is not the best. What we definitely work most on is adapting the recipes from the lab for the mill. And it may take longer than expected to dye the skeins and get it just right. Which part of your job is a challenge for you? The most challenging part of my work is when we design a new color but we can’t achieve the same result when dyeing larger quantities of it. The solution to that is to fix the method, the combinations or the dyes used, until we make the mill color match the labs. What’s your favorite color and favorite yarn? I love mechita, it’s definitely my favorite yarn. As for my favorite color, which comes from the area where I develop most colors, is the speckled “Double Bass”. This is the one I truly love the most, as I’m fascinated with the combination of black and reds and just the way it goes so well with solid colors. I can imagine it knitted into a gorgeous dress. That is my truly favorite one but I love all the colors we have, so it’s a difficult choice. They are all awesome and there are so many that it’s hard to pick just one.
Do you knit or crochet? When I started at malabrigo I didn’t know how to knit. My mother and my sisters used to but I was never patient enough for that. However, after making new colors myself, I was always intrigued to see how the skeins would look knitted (they can change so much!), and so I learned. Now, every time I send Antonio new test colors I always make a swatch to show him how the skein looks knitted. That way it is easier to know what things need to be changed in order to improve the color, or even to change the yarn base. For instance there is a big change in how it looks between Rasta and Sock, so it’s something to take into consideration. Could you tell us an anecdote? Eight years ago, when I began working here, we used to have different batches of hot water. What I had to do back then was put the dye into the batch so I could dye the skeins. At that moment I had five batches and five pots with different dyes. I didn’t understand the process very well (I had to put one dye in each batch) and instead I put all the dyes in the same batch! You can just imagine what a mess I had made! The color I achieved was nothing like what I needed to make. It was super dark, something
between grey and brown… not pretty at all! I was so ashamed because I had just started and I was already making a mess… but in the end, we fixed everything. The process was explained to me once again and luckily I got it right! I have other anecdotes too of course. Once I was surprised by a ghost! I was alone here at the mill and I heard a strange noise but thought it was the heating machine or the steam. Then, I began to hear a louder noise, as if someone was pulling an iron tool. I ran out of the mill and swore I would never dye alone at the mill again. However, a few weeks later, (I wasn’t alone that time) we felt the ghost again! So, we decided to name him “Pancho”. Sometimes I come into work earlier and I say to him: “Panchito, I’m going to work now, please be quiet”. But sometimes, he decides to throw some packages off the shelves. What a rebel that Panchito is!
~
THE COLORS OF MALABRIGO
MYSTERIES OF THE UNIVERSE Some of our colors are inspired by aspects of nature that are a bit distant. These are things that we’re not able to see directly, but with the help of some marvelous tools and our imagination, we give them a shape and color. Our yarns, along with their designs, aim to illustrate those things that are imprecise but humanity has managed to create. The sky and the cosmos for example are often elusive and when science and reason cannot respond, magic may answer these questions. We have grouped together these colors that pay hommage to the mysteries of the universe‌
30 | Th e Col ors of malabr igo
PURPLE MYSTERY
POCIÓN
TA L I S M A N
A mystery is something that is elusive, unknown… We thought that deep, dark purple was a good tone to represent the unexplainable.
Traditionally, magic potions were used to cure, poison or enchant someone. Among these, the idea that it could make one person fall in love with another. We liked the idea that whoever makes and wears a garment in this color could enchant others.
An object used in magical rituals that has the ability to defend us from evil. Generally, it is made of gold and semi-precious stones. What inspired us are its gorgeous colors. For some of us, knitting can be a ritual too. And who knows… maybe a garment knitted in this color can have the ability to protect us as well?
Available in: Rasta, Silky Merino, Rios, Lace, Silkpaca, Worsted
Available in: Arroyo, Rios, Lace, Mecha, Nube, Mora, Sock
Available in: Arroyo, Caracol
KALEIDOS
S U P E R N O VA
CO S M O S
The kaleidoscope is one of the most famous toys in the whole world. Its shapes, full of color, are reflected in a one-off way. A truly beautiful object that has the power to enchant us. Something similar happened to us when we designed this color.
Every now and then our galaxy is lit up by a huge explosion, that of a massive star. The images that illustrate this phenomenon are polychromatic and we found that our speckled effect reproduced this imagery the best.
Used as a synonym of the universe in its entirety, encompassing it all. Its origin is the opposite of chaos, something we were able to see in its tranquil, celestial light blue. Seemingly diaphanous but also hiding what mystery it holds beyond.
Available in: Worsted
Available in: Mechita
Available in: Rasta, Rios The Co l o r s o f mal a b r i go | 31
WA R M YO U R H E A D
MALABRIGO BOOK 15
TIME FOR
H AT S !
They have warmed us, protected from the sun, helped us look more stylish... Hats of myriad designs have had multiple uses throughout history. The pharaohs of ancient Egypt covered their heads with nemes, head cloths that may have been the antecedent of modern-day head gear. Cold weather is approaching, and a stash full of beautiful yarn is waiting to become a new garment. If you’re like us, you’ll start your winter knitting with a hat. Warmth is a key factor, of course, but you’re a knitter, so color combinations, stitches, shapes and embellishments are equally important. (Did you know that there are some versions that claim the pompom was invented by French sailors to muffle hits to the head caused by the extreme movements of boats?). We’ve created this book with the hope that it inspires you to warm your own head, as well as the heads of your loved ones. And, of course, we want you to have an amazing time knitting!
Bo o k S p o t l i gh t | 33
malabrigo Rios
Tr iBe Ca Co l l e c t i o n TriBeCa is a collection of pastel, neutral, and muted colors that were recently released on Rasta and we were overwhelmed with the reception to this new palette. So much so that we decided that we needed to try these shades on Rios. You can have endless fun with these fashion focused colors on their own or in combination with all of the stunning colors currently available on Rios. Weight:
Texture:
Worsted
plied
Yardage/meters: 210 yards (192 meters)
Skein weight: 3.53 oz (100 grams)
Gauge:
18-22sts = 4″/10 cm
Needle size:
US 6 - 8 (4 - 5mm)
Content:
100% Superwash Merino Wool
Cares:
Machine washable, gente cycle, cold water, do not tumble
Almond Blossom
Cape Cod Gray
Cosmos
Cucumber
Fog
Ivory
Melon
Valentina
Whole Grain
R i o s TriBeCa : Tr iB e Ca co llec tion 34 | Rios: Collection
Upcoming EVENTS
This season, we are excited to welcome back our Trunk Shows! We took some time to select garments and accessories and we created collections that will become your favorites. You are invited to see and feel these gorgeous pieces. Attend a show in a city near you, or host a trunk show in your yarn store. If you’re interested in scheduling a show, please email us at admin@malabrigoyarn.com. TRUNK SHOW 1: POPULAR BASES A selection of designs featuring Rios, Worsted, Rasta, Mechita, Sock and Caracol.
T R U N K S H O W 3: S H AW L LO V E R S A compilation of beautiful shawls in different sizes, shapes and colors.
May 15, 2020 Eat Sleep Knit Dallas, Georgia www.eatsleepknit.com
June 15, 2020 Eat Sleep Knit Dallas, Georgia www.eatsleepknit.com
June 15, 2020 Apples to Oranges Silverton, Oregon applestooranges.net
July 15, 2020 Rapunzel’s Unique Gifts and Yarns Frankenmuth, Michigan www.rapunzelsfrankenmuth.com
July 15, 2020 The Hook & Needle Nook Spokane, Washington www.thehookandneedlenook.com TRUNK SHOW 2: FINGERING WEIGHT A combination of mid-season knits highlighting Mechita, Sock, Finito and Mora June 15, 2020 Mass Ave Knits Indianapolis, Indiana massaveknitshoponline.com July 15, 2020 Knitorious St. Louis, Missouri www.knitorious.com
36 | U p coming Eve nts
* Some of these events can be canceled or rescheduled according to the guidelines regarding the COVID-19 pandemic.
Up c o mi ng Even t s | 37
SarandĂ Hat in malabrigo Mecha book 15
38 | Conne c t w ith Us
Co n ne c t With Us facebook.com/malabrigoyarn
instagram.com/malabrigoyarn
pinterest.com/malabrigo
ravelry.com/yarns/brands/malabrigo-yarn
twitter.com/MalabrigoYarn
admin@malabrigoyarn.com
Co nne c t Wi t h U s | 39
Regina Hat in malabrigo Sock book 15
www.malabrigoyarn.com
