“Ashleigh, your last post about needing at technical editor just wasn’t gritty enough” “I know I need a technical editor, but now what? “How do I actually find an editor that I like and trust?” I get it. I got a lot of feedback that one of my last posts just wasn’t good enough. The whole purpose of this blog and site i
Notches, dots, sticing lines, cutting lines - discover the definitions of these technical terms focused for Pattern Symbols.
Look familiar? The project was introduced in the second half of this post .
February 25, 2021 - When you hire a tech editor, what can you expect? In this post, you'll learn the workflow steps from submission to final edit.
Of steatite, chlorite(?) and limestone. This work can be compared to the most beautiful Bactrian figures for both its artistic and its technical qualities. Stylistically, this work certainly belongs...
As you may know, I make and sell basic blocks for pattern cutters, fully graded in wide size ranges. This has been a bit of a hobby for me over the past 30 years, and something I started doing when…
Browse free vintage patterns, retro hair tutorials and affordable vintage clothing. Enjoy diy fashion crafts and classic style inspiration
This pattern has been technically edited and tested. An addictive and fast project. The sweater is worked from the top down, beginning with 1x1 rib for the double folded neckband. The yoke is then worked in the round, followed by back shaping using German short rows. Depending on your chosen size, you may/may not work raglan increases to the underarm. The sleeve stitches are set aside and the body is worked in the round to the hem. Instructions are written for 2 sleeve options that are worked in the round: balloon sleeves and straight sleeves with slight shaping. SIZE GUIDE To pick the correct size, measure yourself with a measuring tape around your bust. The recommended ease is 10 to 20 cm / 4 to 7¾”. Please note that the finished measurements can only be achieved if the sweater is knitted in the correct gauge. SIZES XS (S, M, L)(XL, 2XL, 3XL)(4XL, 5XL, 6XL) FINISHED BUST MEASUREMENTS 97 (103, 108.5, 115.5)(120, 128.5, 135.5)(145.5, 155.5, 165.5) cm / 38¼ (40½, 42¾, 45½)(47¼, 50½, 53¼)(57¼, 61¼, 65¼) inches GAUGE 14 sts and 19 rows / rnds = 10 cm / 4” in Stockinette st with 2 strands of Nutiden yarn held together, using size 6 mm / US 10 needle, after blocking. YARN 2 strands of Nutiden yarn are held together throughout the pattern. Höner och Eir Nutiden yarn (100% Swedish wool, single ply pre-yarn) Samples shown in “Kvarts” and “Mogen”. Note: The weight of Nutiden yarn can vary depending on the blend that is used to produce the pre-yarn. Approximately 315 (335, 360, 385)(405, 445, 490)(530, 590, 640) grams OR bulky weight yarn with approximately 795 (850, 905, 975)(1030, 1125, 1240)(1335, 1490, 1615) metres / 870 (930, 990, 1065)(1125, 1230, 1355)(1460, 1630, 1765) yards NEEDLES One 5 mm / US 8 circular needle, 60 cm / 24” for hem and cuff. One 6 mm / US 10 circular needle, 60 cm / 24” or longer for neckband, sleeves and body. One 7 mm / *US 10.5 circular needle, 60 cm / 24” or longer for working yoke. [*Since 7 mm needle does not exist in US size (between 10.5 and 11), choose a size that allows you to obtain the gauge.] One set of 6 mm / US 10 DPNs or longer circular needle for working sleeves in the round. NOTIONS Circular needle cord, cable needle, stitch markers, stitch holders or waste yarn, tapestry needle. SKILL LEVEL Intermediate Thank you nami44 (technical editor) and my lovely test knitters for your help and support: Wiesengrund KnittingCC Elsemarias madisonmonteze Fansan Bernb erindcoffman fritzemann astitchofgreen Souriska Aulikki-talvi tydel33 shaelyno sshumans wilddirtypaws Belindahuang yeonhwa84 knitoriousael EmilieCott Share on instagram: #donnajennapullover
В этом году моему самому любимому фильму детства "Человек - амфибия" исполнилось ровно полвека. Наткнувшись на статью о его юбилее, я скачала, пересмотрела фильм, и многим была заново впечатлена. В детстве меня, безусловно, привлекала романтически - сказочная составляющая этого фильма. Теперь…
This pattern has been technically edited and tested. Enjoy a 15% introductory discount until 30 April 2024 (23:59 CET) using discount code ’ribwave15’. Please remember to click ‘apply’ after entering the discount code at checkout. The pullover is constructed from the top down. First, the front panel is knitted flat, using German short rows to shape the shoulders and neckline. Once the front section is worked to the underarm, it is set aside. Next, stitches are picked up along the shoulders of the front panel. The back neckline is subtly shaped using short rows to enhance the overall fit. Knitting continues on the back panel until reaching the underarm level, where both the front and back panels are joined together. The body is worked in the round to the hem. Sleeve stitches are picked up around the armhole and worked in the round. SIZE GUIDE To pick the correct size, measure yourself with a measuring tape around your bust. The recommended ease is 15 to 25 cm / 6 to 9¾”. Sample shown in size XS with 22.5 cm / 8¾” positive ease. Please note that the finished measurements can only be achieved if the pullover is knitted in the correct gauge. SIZES XS (S, M, L)(XL, 2XL, 3XL)(4XL, 5XL) FINISHED BUST MEASUREMENTS 105.5 (112.5, 116.5, 123.5)(128, 136.5, 145.5)(154.5, 165.5) cm / 41½ (44¼, 46, 48½)(50¼, 53¾, 57¼)(60¾, 65¼) inches GAUGE 18 sts and 25.5 rows / rnds = 10 cm / 4” in Stockinette stitch, using size 4 mm / US 6 needle, after blocking. YARN 1 strand of fingering weight yarn (Y1) and 1 strand of lace weight yarn (Y2) are held together throughout the pattern. Y1: Sample 1: Woollentwine Fibrestudio BFL/Masham 4 ply (75% bluefaced leicester, 25% mid brown masham; 400 m / 437.5 yards per 100 g) Fingering weight yarn (shown in “Blush”) 3 (3, 3, 3)(4, 4, 4)(4, 5) skeins Sample 2: Knitting for Olive Merino (100% non-mulesed merino; 250 m / 273.5 yards per 50 g) Fingering weight yarn (shown in “Cloud”) 4 (4, 5, 5)(6, 6, 6)(7, 7) balls OR fingering weight yarn with approximately 910 (990, 1065, 1165)(1265, 1345, 1495)(1570, 1675) metres / 995 (1085, 1165, 1275)(1385, 1470, 1635)(1715, 1830) yards Y2: Knitting for Olive Soft Silk Mohair (70% mohair, 30% silk; 225 m / 246 yards per 25 g) Lace weight yarn (both samples shown in “Soft Rose”) 5 (5, 6, 6)(7, 7, 8)(8, 9) balls OR lace weight yarn with approximately 995 (1080, 1165, 1275)(1385, 1470, 1635)(1720, 1830) metres / 1090 (1180, 1275, 1395)(1515, 1610, 1790)(1880, 2000) yards NEEDLES One 3 mm / *US 2 or US 3 circular needle, 60 cm / 24” or longer for hem and cuff. *(Since 3 mm needle does not exist in US size, choose a size that allows you to obtain the gauge.) One 4 mm / US 6 circular needle, 60 cm / 24” or longer for body and sleeves. Optional: (One set of 4 mm / US 6 DPNs or longer circular needle for working sleeves in the round, one 3.5 mm / US E-4 crochet hook for neckline finishing) NOTIONS 2 lockable stitch markers, stitch markers, cable needle, stitch holders or waste yarn, tapestry needle. SKILL LEVEL Intermediate Thank you nami44 (technical editor) and my amazing test knitters for your support: rita63046 KnittingCC lindentreeknits Yogamomcan jackie617 Summerbo alliwannadoisknit Wiesengrund BlauwKonijn greetalla misiabela Samikdavis JungleLilly knittingprana darinac lapindalice Fea2 BabsRagsKnits laetitia choupettesabrina Share on instagram: #RibWavePullover
This tutorial gives you ideas on how to come up with new sleeve pattern designs, but also shows you examples of particular sleeve patterns.
This pattern has been technically edited and tested. Enjoy a 15% introductory discount until 30 April 2024 (23:59 CET) using discount code ’ribwave15’. Please remember to click ‘apply’ after entering the discount code at checkout. The pullover is constructed from the top down. First, the front panel is knitted flat, using German short rows to shape the shoulders and neckline. Once the front section is worked to the underarm, it is set aside. Next, stitches are picked up along the shoulders of the front panel. The back neckline is subtly shaped using short rows to enhance the overall fit. Knitting continues on the back panel until reaching the underarm level, where both the front and back panels are joined together. The body is worked in the round to the hem. Sleeve stitches are picked up around the armhole and worked in the round. SIZE GUIDE To pick the correct size, measure yourself with a measuring tape around your bust. The recommended ease is 15 to 25 cm / 6 to 9¾”. Sample shown in size XS with 22.5 cm / 8¾” positive ease. Please note that the finished measurements can only be achieved if the pullover is knitted in the correct gauge. SIZES XS (S, M, L)(XL, 2XL, 3XL)(4XL, 5XL) FINISHED BUST MEASUREMENTS 105.5 (112.5, 116.5, 123.5)(128, 136.5, 145.5)(154.5, 165.5) cm / 41½ (44¼, 46, 48½)(50¼, 53¾, 57¼)(60¾, 65¼) inches GAUGE 18 sts and 25.5 rows / rnds = 10 cm / 4” in Stockinette stitch, using size 4 mm / US 6 needle, after blocking. YARN 1 strand of fingering weight yarn (Y1) and 1 strand of lace weight yarn (Y2) are held together throughout the pattern. Y1: Sample 1: Woollentwine Fibrestudio BFL/Masham 4 ply (75% bluefaced leicester, 25% mid brown masham; 400 m / 437.5 yards per 100 g) Fingering weight yarn (shown in “Blush”) 3 (3, 3, 3)(4, 4, 4)(4, 5) skeins Sample 2: Knitting for Olive Merino (100% non-mulesed merino; 250 m / 273.5 yards per 50 g) Fingering weight yarn (shown in “Cloud”) 4 (4, 5, 5)(6, 6, 6)(7, 7) balls OR fingering weight yarn with approximately 910 (990, 1065, 1165)(1265, 1345, 1495)(1570, 1675) metres / 995 (1085, 1165, 1275)(1385, 1470, 1635)(1715, 1830) yards Y2: Knitting for Olive Soft Silk Mohair (70% mohair, 30% silk; 225 m / 246 yards per 25 g) Lace weight yarn (both samples shown in “Soft Rose”) 5 (5, 6, 6)(7, 7, 8)(8, 9) balls OR lace weight yarn with approximately 995 (1080, 1165, 1275)(1385, 1470, 1635)(1720, 1830) metres / 1090 (1180, 1275, 1395)(1515, 1610, 1790)(1880, 2000) yards NEEDLES One 3 mm / *US 2 or US 3 circular needle, 60 cm / 24” or longer for hem and cuff. *(Since 3 mm needle does not exist in US size, choose a size that allows you to obtain the gauge.) One 4 mm / US 6 circular needle, 60 cm / 24” or longer for body and sleeves. Optional: (One set of 4 mm / US 6 DPNs or longer circular needle for working sleeves in the round, one 3.5 mm / US E-4 crochet hook for neckline finishing) NOTIONS 2 lockable stitch markers, stitch markers, cable needle, stitch holders or waste yarn, tapestry needle. SKILL LEVEL Intermediate Thank you nami44 (technical editor) and my amazing test knitters for your support: rita63046 KnittingCC lindentreeknits Yogamomcan jackie617 Summerbo alliwannadoisknit Wiesengrund BlauwKonijn greetalla misiabela Samikdavis JungleLilly knittingprana darinac lapindalice Fea2 BabsRagsKnits laetitia choupettesabrina Share on instagram: #RibWavePullover
You can make a photo block quilt to celebrate a birthday, anniversary, wedding, or other memorable occasion with this Photo Memory Quilt Tutorial.
In Part 1, I shared bits of a marvelous lecture about Vionnet, given by Sandra Ericson in 2010. I recently looked at Sandra Ericson’s site online, The Center for Pattern Design, (click here)…
Seductive men and women pose in moods of aching distress in Dani Soon’s technically-deft illustrations.
An easy knit with enough textural and semi-lacy interest to keep your knitting mojo going.Knit sideways in one piece from end to end, the border and edging are worked as you goPlain stocking stitch in a centre is surrounded by interesting textures that let a luxurious hand dyed yarn shineFeatures some (intended) holes but I hesitate to call it lace – the 6-row repeat has just 1 row of yarnovers and decreases, which technically makes it LACE. It's definitely lace suited also for beginner lace knitters.The nicely textured cable along the upper edge is also quite straightforward. Unlike many smaller cables, this one does require a cable needle (or a double pointed needle).The instructions (charted and, in the English version, also written out) give you a generous shawl, but the size is quite easy to adjust.To find out what's up my knitted sleeve, you may sign up for the occasional Åsa Tricosa Newsletter here. Shown in Nature's Luxury On Stage. A suggested substitute is shown below.
How to make long-sleeve crochet dress
Designer and technical editor Robin Melanson explains the formula for creating the perfect set-in sleeve. Get out your graph paper!
I've been working on an "Introduction to Card Weaving" post, but ran into some technical difficulties Several hours into creation, the computer shut down, and inexplicably, the post was not saved, despite my having clicked on the "Save" button numerous times throughout the process. I have no idea what happened, but it was a significant set back. Images gone. Text gone. My mini glossary gone. In many ways, it was almost back to the first outline I created. Seriously frustrating. Hopefully I can get that back up to where it was and get it posted soon. In the meantime, I will post a quick lesson on Advanced Card Weaving. There are many different Kivrim patterns which apparently means "Bent" (although Google Translate doesn't have the word in its dictionary for any language). This is a split-pack weaving technique, which means that the cards will be turning in different directions, singly or in groups. Proper threading and turning will result in some stunning patterns! You can find several different varieties on the Loomy Bin, including the Egyptian Diagonals patterns. This was a great lesson for me to learn how to read patterns that have no instructions--that is, those that have slashes in the boxes that change from left-leaning to right-leaning; from slash to back-slash. I had never done such a thing before, so I feel like I made a huge leap forward in my tablet-weaving journey. Here's an example of one of those patterns... Looks confusing, doesn't it? Well, my brain doesn't like looking at it. I prefer to have it written out, which can take some time doing the translation. I had the same issue when I was learning to knit, so perhaps in time, I will be able to look at this kind of pattern and untangle it in my head, but for now...it's long hand. The pattern I decided on was Birka 6, one of several card woven bands found at Birka, a former trade site in Sweden which uncovered a great number of artifacts in an archaeological dig. The bottom four rows are, of course, the threading diagram. The cards are threaded DCBA, so face those cards left! I chose two colors, a dark burgundy red and pale yellow for my project. Looking at the diagram, you will see the first six cards are Z threaded, and the last five are S threaded. Here's a great diagram to remember how Z and S threading works: If you're weaving along with me, go ahead and get out your thread, your cards, your loom, and warp up your cards! I'll just go make a cuppa and meet you back here.... Ready? Great! Through experimentation, I discovered that you start this pattern with the AD position on top. For the first four quarter-turns, you turn the cards away from you, which will form the V formation as you see in the threading diagram. We'll call this motion "Forward" (since it appears to be the industry standard, although it feels backward in my mind...). This first few rows will, of course, look sloppy and messy...as an experienced weaver, you know it always does at the beginning! The next phase is looking at the boxes where the slashes change direction--that indicates a reverse in the card direction. The author of this image made dark lines every two rows, which conveniently points out that the pattern of card-turning changes every two rows. You will turn the cards two quarter turns, passing the shuttle for every quarter-turn, then adjust your cards for the next two rows. Here is what I charted out (and you'll forgive me for not following the pattern exactly and changing directions of the first and last cards on the selvage--I never liked the idea of two cards constantly twisting up in one direction while the others moved forward and back equally. It does make the edges a little more rough, so if you want smooth edges, turn them only forward and you can always reverse to only backwards after a while.) These directions are written so each "turn" is a quarter-turn of the cards, and the shuttle is thrown every quarter-turn. A) Turns 1-4: turn all forward B) Turns 5-6: 1-6 Forward; 7-8 Back; 9-11 Forward C) Turns 7-8: All Back D) Turns 9-10: 1-6 Back, 7-8 Forward; 9-11 Back E) Turns 11-12: 1-3 Forward; 4-6 Back; 7-11 Forward F) Turns 13-14: 1-5 Forward; 6 Back; 7-11 Forward G) Turns 15-16: 1-3 Back; 4-6 Forward; 7-11 Back H) Turns 17-18: 1-5 Back; 6 Forward; 7-11 Back I) Turns 19-20: All Back If you are doing the edges all one direction, the directions are: A) Turns 1-4: turn all forward B) Turns 5-6: 1-6 Forward; 7-8 Back; 9-11 Forward C) Turns 7-8: 1 Forward; 2-10 Back; 11 Forward D) Turns 9-10: 1 Forward; 2-6 Back, 7-8 Forward; 9-10 Back; 11 Forward E) Turns 11-12: 1-3 Forward; 4-6 Back; 7-11 Forward F) Turns 13-14: 1-5 Forward; 6 Back; 7-11 Forward G) Turns 15-16: 1 Forward; 2-3 Back; 4-6 Forward; 7-10 Back; 11 Forward H) Turns 17-18: 1 Forward; 2-5 Back; 6 Forward; 7-10 Back; 11 Forward I) Turns 19-20: 1 Forward; 2-10 Back; 11 Forward When the cards have twisted too far in one direction and it starts to affect your tension, reverse the cards 1 and 11 to Back, which will untwist them. When they are twisted too far in the opposite direction, start turning forward again. Here's the finished piece! It's only 5' 6" (not quite 2 feet), but since it was a test piece, I didn't want to make a full-length 4-yard piece if I didn't find it fun or workable. I hope these instructions help you to make your own Birka band. Good luck! I hope to see lots more period pieces made and displayed on garb at upcoming events!
Why is stitch gauge variable between knitters? It's a mystery of knitting encompassing many factors. Widely understood to have an influence are needle size, needle composition (material), tension in yarn supplied; and this post considers all these. Yet, a factor equally important--if not more--so lies in the formation of the knit stitch itself. We'll start there. We can say there are two properties of a knit stitch: its width, and its height. In the simplest conception, width arises from the "tail" of the stitch ( red, below) and height is measured from the "head" ( blue ) to the tail. The head is formed when your needle pulls through a loop, and the tail of the stitch when you move the formed loop along your knitting needle to get at the next loop. The tail here is shown split in half, but of course, the tail of one stitch butts against the next, making one continuous, shared, width. Tail or "'tweener strands" illustrated Below is a photo-diagram of the edge of stockinette: this is a top view. The heads are not colorized, only the tails. Stockinette fabric, top view "'tweener strands" of current row colorized red As with the opening illustration, the tail is colorized red. Here, the tail is seen top-view with the purl side of the stockinette fabric in view. This little red tail connects one stitch to another along the row--in this case, the current row. Because this tail runs between stitches, we'll call it the 'tweener yarn. Why does tail yarn need a special name? As it turns out, all 'tweener yarn is tail yarn, but not all tail yarn is 'tweener yarn. As we go along in future posts, we'll need specific names for the different kinds. So, to be specific, 'tweener yarn is that particular subset of tail yarn which connects stitches aligned in the same direction. Stated otherwise, 'tweener yarn connects adjacent stitches of the same kind (knit to knit, or purl to purl) along a row, as in stockinette. (In a future post, we'll look at a different subset of tail-yarn which we'll give a different name, and that is the kind which connects different kinds of stitches: knit to purl or purl to knit. When that post goes live, there will be a link placed here.) Here is a split-screen view of stockinette fabric, as seen from the front (knit) and back (purl) fabric faces, respectively. Again, the 'tweener yarn of the current row is colorized red. The most obvious difference between the two fabric faces is that the 'tweener yarn is unevenly distributed: far more appears on the back fabric face than the front. One consequence of this unbalanced distribution is behind the reason why stockinette curls so badly (discussed here). But 'tweener yarn is also an important factor in gauge--our topic today. Stitch gauge: Differing lengths of 'tweener yarn supplied between individual stitches lead to differences in number of st/in. In other words, it is the length of this little red strand laid down between stitches, which helps account for the difference in stitch gauge between two different knitters using the same yarn and the same needles. This makes intuitive sense because more distance between the stitches = fewer stitches per inch of fabric. Row gauge: The length of the 'tweener yarn is an important factor in STITCH gauge, but not the only factor in overall gauge-- there is also ROW gauge. In my analysis, it is the height of the stitches which adds a factor for difference in row gauge, and by height, I mean how tightly each loop of yarn conforms to the size of the barrel of the needle. Once the stitch is off the needle, a stitch which lays looser around the needle barrel will lay taller in the fabric than a relatively tighter-wrapped stitch, so looser loops = taller fabric Stitch + row gauge, theory: Putting together the two factors--length of 'tweener yarn + height of stitches--theory suggests... 4 samples, 4 different styles, same yarn, same number of rows & stitches, same needles, same knitter WIDE: If you pull your yarn tight over the barrel (smaller, tighter stitches) but leave plenty of room between stitches (longer 'tweener strand) you'll have--relatively speaking--a wide-ish stitch gauge (more st/in) and a short-ish row gauge (fewer rows/in). I could get this to occur consistently by operating on the upcoming stitch very near the holding needle tip (left needle), but drawing the new stitch well back onto the working needle tip (right needle). This near-the-left-tip, far-from-right-tip method produced the "wide" swatch illustration. TALL: If your loop is loose over the barrel of the needle, but each loop is right up against the next loop (shorter 'tweener strand), then your row gauge appears relatively long (fewer rows/in) and your stitch gauge relatively narrow (more sts/in). In my experiments, this style can result from stitch formation via drawing the two needle tips apart from one another like the arms of a scissors, with significant up and down motion between the needles, but the yarn held near both needle tips. I heavily "scissored" in knitting the tall sample. An alternative way of getting the same effect is by wrapping the stitch loosely, holding it somewhat open by tensioning the working (right) needle upwards, then giving a pretty good jerk to the running yarn. TIGHT: If your 'tweener strand is short and the height of the stitch short, you're a tight knitter (more st/in and more rows/in). In my experiments this was accomplished by knitting at the tippy-toppy-tips of both needles, drawing the running yarn so tight to the barrel of the needle they would hardly slide, and, of course, by heavily tensioning the yarn at all times. LOOSE: If your 'tweener yarn is long and the height of the stitch tall, you're a loose knitter (fewer sts/in, fewer rows/in). This is how I usually knit. Therefore, to get gauge, I have learned to drop needle size, usually two US sizes smaller than what is considered "standard." For the below sample, I knit as loosely as possible, tensioned the yarn lightly, held each loop well away from the left and and right tips, drew a lot of yarn into each stitch and scissored each stitch wide open. Another view. Wide (top L) and loose swatches (bottom L) are same width, but loose swatch is longer. Tall (bottom R) and loose swatches are same height, but loose swatch is wider. All these samples were knit using the same needles (Boye aluminum US size 5 dpn's) on the same day, by the same person (me), all 16 stitches and 20 rows, using yarn from the same ball of Patton's Roving. I chose this yarn because it has very little twist and is airy. Airy yarn like this which compresses but also fluffs up can be worked at many different gauges. Further, it is pure wool of a not-very-soft kind, and so, ultra-grabby. The only thing which varied between the samples was the height of the stitch, and the length of the tail yarn between the stitches--the 'tweener yarn. Now, theory is a very fine thing, but unless you're using an ultra-grabby yarn like mine, stitch height and 'tweener length aren't really in a fixed relationship. Looking back at the structure of the stitch, you see that a stitch is a very fluid little creature. As yarn comes off the needles it is freed to wiggle around in the continuous and interconnected web which is knitted fabric. So, yarn can get pulled from the loop of the stitch into the tweener strand, or vice versa. Via blocking, a taller stitch can simply become a wider stitch, just depending how the fabric is handled (when you block a fabric wide, it becomes shorter). Similarly, blocking can turn a wider fabric with more 'tweener yarn to become a taller fabric (blocking a fabric long makes it narrower). The more overall slack--whether in stitch height or 'tweener strand--then the more possible it is that in the blocking process, or even in just wearing the garment, the fabric can trade width for length and vice versa. In other words, whether you made the stitches tall with a short length of tweener yarn, or you left a lot of 'tweener yarn stranded between the stitches but made the stitches tight, these variables don't matter as much as the overall amount of slack increases. This factor is especially true if you are knitting in a slick yarn. In trading length for width, yarn slickness is huge. Different yarns have different amounts of friction vs. slide. The slicker the yarn, the easier the interchange between stitch height and tweener yarn length (And this is why it is so notoriously difficult to "get gauge" in alpaca, acrylic, linen or silk, those slick and frictionless yarns.) For my original cream colored samples, I chose high friction yarn which made it easy to show the relationship between stitch height and 'tweener yarn length. But if you're knitting with a slick yarn, the story is completely different. The gold samples below are worked in some kind of acrylic yarn--the ball band went missing years ago. All I know is it is super slick (so slick, in fact, I usually use this yarn for COWYAK provisional cast-on: it slides out of the work perfectly). Both samples below were made within a few minutes of one another, with the same needles (those aluminum Boye size 5's again) same yarn, same hands. I knit both samples as I usually knit, which is loosely--long 'tweener yarn as well as tall stitches. The only construction difference is a few purl bumps on one so the two samples can be told apart. After the samples were knit, I didn't wet-block because blocking has no lasting effect on acrylic. Instead, I simply tugged each sample repeatedly and strongly, in order to work the slack yarn either into the loop (tall) or into the 'tweener yarn (wide). The slick yarn simply slid around in the fabric, and here's the result stuck on a magnet board. Although both samples started off at the same size, tugging made the plain sample longer, and the bumped sample wider. Plain sample (L) tugged long, bumped sample (R) tugged wide In this next photo, I left the plain sample alone, and tugged the bumped sample tall and long. Now, both samples have the same length and width. Plain sample and bumped samples both pulled long In the last iteration, I left the bumped sample long, but tugged the plain sample wide. This final experiment shows that tugging into a wide shape is not permanent in slick yarn Plain sample (L) tugged wide, bumped sample (R) tugged long These samples demo the influence of yarn friction (or in this case, lack of friction). Given that gravity never sleeps, if I wanted to knit a sweater out of a slick yarn like this, I'd pull the swatch as long as possible, and measure gauge that way. That would better match the eventual lengthening of garment as it is worn over time. So, for alpaca, linen, cotton, acrylic, silk, and other similar fibers, consider tugging or blocking your swatches long to get the truer gauge. (And speaking of gravity, I might also add here that gravity affects ALL knitted garments to some extent, of whatever fiber they are worked. So, if you're happy with a garment's current fit, do not store it hanging, no, not even on a wide-shouldered suit hanger.) Adding hardware to the analysis, adds more complications. Needles play a role with needle size the most obvious influence. Bigger needles yield bigger loops and looser fabric, all other things held equal. However, even among knitters using the same size needles and yarn, there is significant variation in fabric produced. So, each knitter must learn by experience, her own correction from "standard." As mentioned earlier, I generally start out swatching with two or even three sizes smaller needles than are recommended as standard on the yarn ball-band. Needle material also plays a role. Grabby needles like wood or bamboo deliver more yarn per stitch; smoother needles, fewer, and this is true even when all these needles are the exact same size. Yet, it's even more complicated than that, because while needle composition does strongly affect stitch height (amount of yarn grabbed into each loop) it does not strongly affect the length of the 'tweener strand or tail: the loop is made over the grabby needle, but the tail is created mainly in the frictionless air. So if you get stitch gauge, but you feel your row gauge is too long or too short, consider a switch to needles of the same size but a different composition--smoother or grabbier--as required to correct. Finally yarn size has quite an effect. In unitary fabric (non-lace), thinner yarn gets up to fewer overall tricks because there is inherently less slack in smaller stitches knit on smaller needles. The bulkier the yarn you work with, the better will be the result if the yarn is grabby and not slick. So, if I wanted to work a garment in alpaca or silk or a synthetic (slick) yarn, I'd choose a pattern calling for a lighter weight yarn, so there would be less yarn to wiggle around in the first place. For a bulky garment, I'd choose a grabby yarn, giving gravity a bigger challenge to dragging the garment long. In lace fabric knit with a lightweight yarn, the situation is exactly reversed because lace has inherently loose gauge due to its open nature. The yarn-overs in lace would tend to slide into the fabric and disappear if knit in a slick yarn. A grabby yarn holds the lace pattern much better. For that reason, yarn with a mohair content is a dream for lace--the "halo" of mohair fibers are like tentacles holding open the yo's. Shetland-type wools are a popular choice for lace for the same reason: they aren't at all slick and hold the lace pattern with little slide. Changing your gauge I think that changing your gauge by changing the motion of your hands is one of the hardest things to do in all of knitting. The way that your hands form the loops--whether tall or tight to the needle--becomes an automatic process after just a short time knitting. Similarly, the amount of yarn your hands play out between stitches--the length of the 'tweener yarn--also becomes automatic. I don't say it can't be done--it can, and I have known knitters who did. So, if you want to try, it helps that you know what factors to look for: the height of the stitches, the length of the 'tweener yarn, and how you got to those factors. As per above, these include how far the loop is from the tips of each needle at the time of stitch formation, the tension on the running yarn, whether your needles "scissor" the stitches wide open at the time of formation, and (especially for English-style knitters, perhaps) whether you give the running yarn a jerk after each stitch is seated on the right (holding) needle. If you absolutely want to have a whole fresh start which corrects the "automatic" tendencies of your hands, consider experimenting with a different style of knitting. If you knit English, try continental. If you knit continental, try English-style. I expect that even with this fairly nuclear-type option, though, your hands will soon develop habits in this alternate style--new and different habits, but equally automatic after a short time. An easier and more accessible way to change your gauge is to mess around with the interplay between the other factors identified in this post. If your swatches always lie, consider swatching and working your next project in a grabbier yarn--rustic wool, for one example, stays put once knit. Among synthetics, something with bumps, slubs, or other heavy texture would also have a better chance of staying truer to swatch gauge. If determined to work in a slick fiber, then, as stated above, a swatch tugged or blocked long is a more accurate approximation of the final result (and the longer the garment is, the more true this is). If your final garment doesn't fit the way you would like, consider extreme blocking--remember than blocking can usually get fabric to trade height for width, at least somewhat. BTW? A high-end dry-cleaner can help with this too: they have commercial fabric-processing machines you simply don't have at home, especially steaming equipment. Match yarn to project: in non-lace projects, save slick fibers for thinner yarns knit on smaller needles to reduce overall slack; prefer grabby yarns for heavier yarns to increase friction and decrease sliding around. In lace, the situation is reversed: although lace is typically knit with thin yarn, grabby yarns give the best result in holding the holes of lace patterns open. As far as stitch and row gauge go... If you get stitch gauge but your row gauge is too short (not enough rows) consider swatching with the same size needle, but a grabbier material like wood or bamboo, to drag more yarn into the height of each loop. If you get stitch gauge, but your row gauge is too long (too many rows) consider swatching with a slicker needle--non-coated metal of some kind, perhaps anodized aluminum. If you get row gauge but not stitch gauge, consider changing needle size until your stitch gauge is correct, and then switching up your row gauge by changing needle material as above Or maybe, just don't worry too much about row gauge in the first place. See, for top-down or bottom-up garments (which is most of them) row gauge is less important than stitch gauge, because you can always alter the pattern by adding or subtracting a few rows. You can usually even fudge sleeve caps this way, too, after a few runs at it. For side-to-side sweaters, though, row gauge is important! 'til next time --TK ACKNOWLEDGEMENTS: Thanks to everyone who posted in an old 2008 Ravelry thread which really got my gears turning in thinking about gauge so many years ago, with a special thank you to Beanmama who started that thread, eightoclock who really ran with it and yarnspinner who dropped a crucial hint. The essential swatches Many thanks also to the various knitters, who, over the years, contributed research swatches, labeled as to yarn & needle size and composition. DOWN THE RABBIT HOLE (related links): .Circular gauge swatches knit flat (back and forth on two needles)(February 4, 2011) .Gauge--a cautionary tale (August 3, 2007) .Gauge, ease and fashion--or "why doesn't my sweater fit?" (January 23, 2007) .Gauge swatches, keeping track with knots (May 28, 2007) .Gauge-less gauge swatches or "dating tips for knitters" (February 6, 2007) .Knitting needles, different points (December 12, 2006) .Knitting needles and loop size: the stitch and the needle it rode in on(February 2, 2007) .Tightening garments after they are made: inisible afterthought smocking: a useful (and mysterious!) trick (September 6, 2014) .My hat is too loose... (May 12, 2011) .My sweater is too wide... (May 6, 2011) .My sweater is too tight under the arms, or at the chest/bust--the magic of gussets (May 9, 2011) .Uneven knitting part 1:how to tame knit and purl at different tensions (February 22, 2007) .Uneven knitting part 2: bunching, big stitches and lumpy fabric--the problem of too-long runs (January 12, 2010) .Why block hand knits? Here's why--and how! (March 13, 2008)
I’m at Joann Fabric looking at the new pattern catalogs - Vogue, McCalls, Simplicity. So many interesting new patterns! I love them all, really. But I know not all of them will be suitable for my body type, which is far from a model’s. I am petite (so I guess one third of these patterns go right out the window), my top is one size smaller than my bottom (so I need both sizes included in the envelope, which doesn't always happen), and I really need dresses that hide a belly bulge (how did that happen to me? I didn’t have a tummy when I was younger!). So, the question is: how to choose a pattern that will fit your body? And not only fit, but also hide your flaws. Do you have the same problems?
This pattern has been technically edited and tested. The cardigan is knitted flat using a top-down approach, beginning with a 1x1 rib neckband. Next, the back neckline is raised by using German short rows. The button bands and the fronts are worked simultaneously and raglan increases are integrated up to the underarm. The sleeve stitches are set aside while the body is worked to the hem. Sleeves are worked top-down in the round. SIZE GUIDE To pick the correct size, measure yourself with a measuring tape around your bust. The recommended ease is 10 to 20 cm / 4 to 7¾”. Please note that the finished measurements can only be achieved if the cardigan is knitted in the correct gauge. SIZES XS (S, M, L)(XL, 2XL, 3XL)(4XL, 5XL) FINISHED BUST MEASUREMENTS 98.5 (106.5, 115, 123)(132, 140.5, 149)(157, 165.5) cm / 38¾ (42, 45¼, 48¾)(52, 55¼, 58½)(62, 65¼) inches GAUGE 19 sts and 26.5 rows / rnds = 10 cm / 4” in Broken Rib (BR) stitch, using size 4 mm / US 6 needle, after blocking. YARN 1 strand of Lamana Milano and 1 strand of Premia are held together throughout the pattern. Lamana Milano (90% virgin wool (superfine merino),10% cashmere; 180 m / 197 yards per 25g) Fingering weight yarn Samples shown in “40 Old Pink” and “62 Rose Quartz” 960 (1080, 1200, 1275)(1395, 1475, 1635)( 1755, 1875) metres / 1050 (1180, 1310, 1395)(1525, 1615, 1790)(1920 , 2050) yards 6 (6, 7, 8)(8, 9, 10)(10, 11) balls Lamana Premia (60% super kid mohair, 40% silk; 300 m / 328 yards per 25g) Lace weight yarn Samples shown in “72 Cherry Blossom” and “62 Rose Quartz” 985 (1105, 1230, 1310)(1435, 1515, 1680)(1805, 1925) metres / 1075 (1210, 1345, 1435)(1570, 1655, 1835)(1975, 2105) yards 4 (4, 5, 5)(5, 6, 6)(7, 7) balls NEEDLES One 3 mm / US 2.5 circular needles, 60 cm / 24” or longer for neckband and cuff. One 3.5 mm / US 4 circular needles, 60 cm / 24” or longer for hem. One 4 mm / US 6 circular needle, 60 cm / 24” or longer for body and sleeves. NOTIONS Buttons with a diameter ranging from 15 mm (5/8”) to 17.5 mm (11/16”) (sizes XS to L: 4 buttons, sizes XL to 5XL: 5 buttons), 2 buttons with a diameter of 15 mm (5/8”) for the first and last buttonholes, cable needle, 4 lockable stitch markers, stitch markers, stitch holders or waste yarn, tapestry needle. SKILL LEVEL Intermediate Thank you nami44 (technical editor) and my wonderful test knitters for your support: AgnesKroner KnittingCC Souriska lindentreeknits Fea2 Johannaelven Summerbo SvitlanaRoos choupettesabrina MisLis84 greetalla ryochiko Wiesengrund mir72 knitsbylillian yphilco lapindalice gli3247 fritzemann amylin Blackberryknit Share on instagram: #CherriCardigan
This pattern has been technically edited and tested. The cardigan is knitted flat using a top-down approach, beginning with a 1x1 rib neckband. Next, the back neckline is raised by using German short rows. The button bands and the fronts are worked simultaneously and raglan increases are integrated up to the underarm. The sleeve stitches are set aside while the body is worked to the hem. Sleeves are worked top-down in the round. SIZE GUIDE To pick the correct size, measure yourself with a measuring tape around your bust. The recommended ease is 10 to 20 cm / 4 to 7¾”. Please note that the finished measurements can only be achieved if the cardigan is knitted in the correct gauge. SIZES XS (S, M, L)(XL, 2XL, 3XL)(4XL, 5XL) FINISHED BUST MEASUREMENTS 98.5 (106.5, 115, 123)(132, 140.5, 149)(157, 165.5) cm / 38¾ (42, 45¼, 48¾)(52, 55¼, 58½)(62, 65¼) inches GAUGE 19 sts and 26.5 rows / rnds = 10 cm / 4” in Broken Rib (BR) stitch, using size 4 mm / US 6 needle, after blocking. YARN 1 strand of Lamana Milano and 1 strand of Premia are held together throughout the pattern. Lamana Milano (90% virgin wool (superfine merino),10% cashmere; 180 m / 197 yards per 25g) Fingering weight yarn Samples shown in “40 Old Pink” and “62 Rose Quartz” 960 (1080, 1200, 1275)(1395, 1475, 1635)( 1755, 1875) metres / 1050 (1180, 1310, 1395)(1525, 1615, 1790)(1920 , 2050) yards 6 (6, 7, 8)(8, 9, 10)(10, 11) balls Lamana Premia (60% super kid mohair, 40% silk; 300 m / 328 yards per 25g) Lace weight yarn Samples shown in “72 Cherry Blossom” and “62 Rose Quartz” 985 (1105, 1230, 1310)(1435, 1515, 1680)(1805, 1925) metres / 1075 (1210, 1345, 1435)(1570, 1655, 1835)(1975, 2105) yards 4 (4, 5, 5)(5, 6, 6)(7, 7) balls NEEDLES One 3 mm / US 2.5 circular needles, 60 cm / 24” or longer for neckband and cuff. One 3.5 mm / US 4 circular needles, 60 cm / 24” or longer for hem. One 4 mm / US 6 circular needle, 60 cm / 24” or longer for body and sleeves. NOTIONS Buttons with a diameter ranging from 15 mm (5/8”) to 17.5 mm (11/16”) (sizes XS to L: 4 buttons, sizes XL to 5XL: 5 buttons), 2 buttons with a diameter of 15 mm (5/8”) for the first and last buttonholes, cable needle, 4 lockable stitch markers, stitch markers, stitch holders or waste yarn, tapestry needle. SKILL LEVEL Intermediate Thank you nami44 (technical editor) and my wonderful test knitters for your support: AgnesKroner KnittingCC Souriska lindentreeknits Fea2 Johannaelven Summerbo SvitlanaRoos choupettesabrina MisLis84 greetalla ryochiko Wiesengrund mir72 knitsbylillian yphilco lapindalice gli3247 fritzemann amylin Blackberryknit Share on instagram: #CherriCardigan
Each one takes at least three months to make.
This pattern has been technically edited and tested. Enjoy a 15% introductory discount until 30 April 2024 (23:59 CET) using discount code ’ribwave15’. Please remember to click ‘apply’ after entering the discount code at checkout. The pullover is constructed from the top down. First, the front panel is knitted flat, using German short rows to shape the shoulders and neckline. Once the front section is worked to the underarm, it is set aside. Next, stitches are picked up along the shoulders of the front panel. The back neckline is subtly shaped using short rows to enhance the overall fit. Knitting continues on the back panel until reaching the underarm level, where both the front and back panels are joined together. The body is worked in the round to the hem. Sleeve stitches are picked up around the armhole and worked in the round. SIZE GUIDE To pick the correct size, measure yourself with a measuring tape around your bust. The recommended ease is 15 to 25 cm / 6 to 9¾”. Sample shown in size XS with 22.5 cm / 8¾” positive ease. Please note that the finished measurements can only be achieved if the pullover is knitted in the correct gauge. SIZES XS (S, M, L)(XL, 2XL, 3XL)(4XL, 5XL) FINISHED BUST MEASUREMENTS 105.5 (112.5, 116.5, 123.5)(128, 136.5, 145.5)(154.5, 165.5) cm / 41½ (44¼, 46, 48½)(50¼, 53¾, 57¼)(60¾, 65¼) inches GAUGE 18 sts and 25.5 rows / rnds = 10 cm / 4” in Stockinette stitch, using size 4 mm / US 6 needle, after blocking. YARN 1 strand of fingering weight yarn (Y1) and 1 strand of lace weight yarn (Y2) are held together throughout the pattern. Y1: Sample 1: Woollentwine Fibrestudio BFL/Masham 4 ply (75% bluefaced leicester, 25% mid brown masham; 400 m / 437.5 yards per 100 g) Fingering weight yarn (shown in “Blush”) 3 (3, 3, 3)(4, 4, 4)(4, 5) skeins Sample 2: Knitting for Olive Merino (100% non-mulesed merino; 250 m / 273.5 yards per 50 g) Fingering weight yarn (shown in “Cloud”) 4 (4, 5, 5)(6, 6, 6)(7, 7) balls OR fingering weight yarn with approximately 910 (990, 1065, 1165)(1265, 1345, 1495)(1570, 1675) metres / 995 (1085, 1165, 1275)(1385, 1470, 1635)(1715, 1830) yards Y2: Knitting for Olive Soft Silk Mohair (70% mohair, 30% silk; 225 m / 246 yards per 25 g) Lace weight yarn (both samples shown in “Soft Rose”) 5 (5, 6, 6)(7, 7, 8)(8, 9) balls OR lace weight yarn with approximately 995 (1080, 1165, 1275)(1385, 1470, 1635)(1720, 1830) metres / 1090 (1180, 1275, 1395)(1515, 1610, 1790)(1880, 2000) yards NEEDLES One 3 mm / *US 2 or US 3 circular needle, 60 cm / 24” or longer for hem and cuff. *(Since 3 mm needle does not exist in US size, choose a size that allows you to obtain the gauge.) One 4 mm / US 6 circular needle, 60 cm / 24” or longer for body and sleeves. Optional: (One set of 4 mm / US 6 DPNs or longer circular needle for working sleeves in the round, one 3.5 mm / US E-4 crochet hook for neckline finishing) NOTIONS 2 lockable stitch markers, stitch markers, cable needle, stitch holders or waste yarn, tapestry needle. SKILL LEVEL Intermediate Thank you nami44 (technical editor) and my amazing test knitters for your support: rita63046 KnittingCC lindentreeknits Yogamomcan jackie617 Summerbo alliwannadoisknit Wiesengrund BlauwKonijn greetalla misiabela Samikdavis JungleLilly knittingprana darinac lapindalice Fea2 BabsRagsKnits laetitia choupettesabrina Share on instagram: #RibWavePullover
For my final project in Draping IV at FIT, due this coming Saturday, I have to design both a dress and a jacket. Our professor didn't put any further restrictions on us, which made the assignment hard
