I thought it might be helpful to create a post to act as an aide-memoire to you lovely folks who have attended my introduction to fair isle workshops. So here it is.
No right or wrong with knitting, just what’s best for you
Of course there is no right or wrong with knitting. There are many ways of holding the needles and manipulating the yarns. Comfort and tension are always your main measures of success. However, learning to hold the yarns in both hands makes life a lot easier. Less tangle, less puckering and hopefully a smoother tension.
My apologies to left handers as what follows below is a right handed version (mine).
A right handed example
The first photo shows how to knit from the left hand in the contrast colour (pink). I hold the contrast over my forefinger and use this finger actively to create the desired tension on this yarn. I also use this finger to push down on the RH needle, if needed, to help the catch and pull through of the contrast yarn to complete the knit stitch.
The second picture shows how I have taken my right needle over the top of the contrast yarn, hooked under it and pulled it through the stitch on the row below.
The third picture shows a second stitch created in the contrast yarn in the same way.
This final picture shows how I have carried the background yarn across the two contrast stitches I have created, to knit the next stitch from the right hand needle.
It is wise to keep your background yarns consistently in one hand (e.g. right) and the contrast (motif) yarns in the other. This greatly assists with creating a smooth tension and does help stop the yarns tangling.
Practice makes perfect
If you are new to knitting with two hands I do advise you persevere with this technique. You may find it slow and cumbersome at first as your fingers get used to manipulating the needles and yarns in a different way. However, once you get a few hours of practice in to them you’ll find it becomes much smoother and does speed up.
Remember also if you are new to stranding and the results are not looking terribly even, a good blocking/washing helps the stitches and strands to settle. Also using a wool rich yarn such as a Shetland yarn will make your initial projects look much more pleasing (particularly after washing when they can bloom a little). Smooth, slippy and non stretchy yarns (some acrylics, cottons, merino) are unforgiving and are probably best avoided until you have practiced a bit first.
Some patterns to help you practice your technique
I have just published the pattern for this playful beanie in my Etsy shop. It is knitted using the stranding technique described above, in the round (no purl stitches to worry about!). More information on the pattern can be found by clicking here.
Hill Head Mitts
Inspired by my favourite coastal haunt, these practical mitts are also knitted in the round using stranded colour work. The pattern can be found by clicking here.
I have recently reignited my love of modular knitting (also known as domino or mitred knitting), and have quickly remembered how satisfying it is to work in bite size pieces while creating knitted items with wonderful drape courtesy of the resulting bias in the fabric. This post is an accompaniment to a modular scarf workshop that I had the pleasure of teaching last month at the Ashcroft Arts Centre in Fareham and is intended as an aide memoir to those lovely ladies who attended and also as a beginners guide for those who would like to experiment with a different method of knitted garment construction.
The term “modular” refers to any type of knitting where modules are made individually and the next module is created from the previous one by picking up and knitting stitches from it. However, it is most often used to describe the specific method of creating a module by decreasing a cast on number of stitches until only one remains. Various shapes can be created by the placement and number of the decreases, the simplest being the mitred square module in garter stitch.
Knitting a garter square module
To create this simple square, an odd number of stitches are cast on. This cast on edge will create two of the edges of the resulting square, with the centre stitch the corner. A stitch marker comes in very handy when working the modules as it can be used to mark the centre stitch. For each right side row, two stitches are decreased either side of and absorbed into this centre stitch using an appropriate decrease. One that I particularly like for this as it has a non directional appearance and an aesthetically pleasing little bump in the centre (hence easy to spot if it accidentally begins to wander off), is the centred double decrease or s2kp. This is worked by slipping two stitches together knitwise, knitting the next stitch, and then passing the two slipped stitches over. The result is two stitches decreased. This is continued until only one stitch, the centre stitch, remains and the result is that the initial cast on edge is gradually brought in towards that stitch, thereby creating a square.
Once the square has been completed the next one can be joined to it by picking up and knitting the stitches along the top of the finished square for one side of the new module, and then casting on the remaining stitches to form the second side of the new module. The process is then repeated.
The diagram above shows how a second square module with the same bias direction can be created from the top of the first.
Of course, squares can also be turned on their sides to form diamonds and in this case the centred decrease is now a vertical element. When a module is created in between the two below, the pick up occurs down one side of the first module and up the side of the next, with the centre stitch in the corner where those two modules touch, as shown in the photo above.
While mitred modules in garter stitch create squares, other stitches such as stocking stitch, create a more elongated diamond shape. It is great fun experimenting with these to see what happens and what design possibilities these shapes present.
If three or four decreases are placed along the cast on edge, the module begins to curve. This is the modular construction technique I used to create my Sparkle design which was awarded second place in the Rowan international design competition a few years back.
So, as you can see, modular knitting is a versatile method of knitted fabric construction which, due to its bias, can create very flattering garments.
For those of you who wish to take your mitred squares to the next level, I have just published a modular shawl pattern called “Weimwood” (so named as it was inspired by and conceived during my daily runs with the Velcro dog around the local woods) which uses mitred squares and triangles in three different 4ply yarns (sock yarn is fabulous for this design) and in different sizes to create an eye catching asymmetrical pattern. The modules are worked in garter stitch with a simple eyelet pattern along the bottom of each and the shawl is finished off with a classic picot cast off edging.
The pattern is available in my Etsy shop as a digital download and can be purchased here.
I hope this post has inspired you to have a go at modular knitting. As you might have gathered, I’m a huge fan so I would love to have passed on a little bit of my modular addiction to you.
Hello and as promised, welcome to a post all about tension.
Tension has many meanings in modern life and while this one may not cause muscle spasm (although that depends on how tight you have knitted it!) it can cause headaches. I’m sure many of you have occasionally wondered after a huge time and financial investment, how come this garment that definitely said it would fit your bust size appears to have been created for a small child (or indeed, a giant).
Whenever I mention tension and tension squares in my workshops, the utterance gets met by a rolling of the eyes and a groan from my attendees. After all we have the yarn, we have the pattern and we are desperate to get stuck in to the knitty goodness that lies therein. The last thing we want to do is knit one or multiple samples before we can get going on the dream project. Believe me, I get that, but my counter would be, what is an hour or so of initial investment to ensure that the 50 plus hours of garment construction isn’t wasted. Tension explorations can be entertaining in themselves and once viewed as part of the project rather than an obstacle to hurdle are a habit well worth forming (honest!).
So why do we need to measure tension? The pattern has told us what it is, the ball band has confirmed that we have an appropriate yarn for this project, where is the problem? It is useful to remember that the tension given on any pattern is that of the designer. They may have a very different knitting style and technique to yourself. One person’s 22 stitches to 30 rows on 4mm needles may measure quite differently to someone else’s, and our own tensions change depending on such things as needles (e.g. a metal needle might result in a different tension to bamboo due to the difference in friction), the weather, if we have had a stressful day, whether it is gin o’clock, etc etc.
Am I convincing you yet? Before you start any project where size matters take the time to knit a sample(s) in the main stitch(es) used in the pattern. Modern patterns use 10cm square as the standard measure of gauge (4 inches in US patterns). The way I tackle this is, using the stated pattern tension as a starting point, I get the needles I am intending to make the project with (as mentioned before, even if the needles are the same size they may not result in the same tension) and cast on the number of stitches to 10cm given by the pattern and then add some either side so that my sample is big enough for an accurate measure to be taken, away from the edges where tension is often different to elsewhere. Let’s say I was looking at a DK yarn with a stated stocking stitch tension of 22sts x 30rows, I would probably cast on 30sts. I would work the 30 rows plus a few more (ideally I’d do about 40 rows), again so tension isn’t skewed by cast on and cast off.
A good argument for having a number of projects on the go at the same time is that after creating your tension square you don’t rush to get the ruler out straight away. The square needs to be allowed to relax and settle as fresh off the needles can be a very different tension to after it has been washed/worn for the first time. So, ideally, the tension square gets treated to a care routine similar to that which the final garment will undergo. A gentle squish about in a bowl of warm water with a few drops of the washing liquid you use for your woollens, followed by a rinse and a gentle laying out on a flat surface (blocking mats or ironing board) to allow to dry overnight is ideal. If you really can’t wait 24 hours plus then you might get away with a damp cloth and a steam iron on wool to help the stitches to settle. Don’t force the damp fabric to conform to your measurements at this stage but let it find its own tension i.e. don’t measure and pin, gently smooth out and leave. As you can see, having another project to pick up to keep those hands busy while you wait is a good distraction.
Measuring knitting tension
Right, let’s get down to the actual measurements. In the pictures you will see a sample square (not big enough I hasten to add!) on which I have measured 10cm across with a ruler (better than a tape measure for this because it is more rigid) and placed pins to mark this distance (there is a slight distortion on the left hand side of the picture which makes it look like the pin is 2mm in from the start of the measurement, please ignore this as it is due to the buckling caused by pinning and a slightly dodgy camera angle).
If I count the number of stitches between the two pins it comes out at 22. If I was working with a more textured yarn I would be wise to repeat this process at different places across the width of the sample and take an average of at least three readings. However, as this is a lovely smooth yarn, one measurement is possibly enough as the fabric is very even.
I would repeat the process with the rows, and in this case I get 31 rows. Be warned that half stitches (and rows) matter with tension squares and shouldn’t be ignored or rounded. Remember that you are working on a 10cm sample where half a stitch might not make a big difference. However, if you multiply that up to a sweater circumference for example, those half stitches will add up and could be quite significant.
If your measurements come out the same as the pattern instructions then it is all systems go. However, if they don’t then it’s back to the needle bag again and trying out a different size. If you have too few stitches then try a smaller needle. If you have too many stitches then try a bigger needle. And repeat……..
A final point about tension is a reminder that different stitches have different properties (and of course designers use this to shape knitted fabric). In the stitch sampler shown below, all of the stitches have been worked on the same number of stitches and rows and you can see from the result that they have varying tension.
In particular you can see from this that garter stitch is a much fatter stitch than the others shown, producing less height for its 14 rows and rib creates a narrower fabric for the same number of stitches (which is of course one of the reasons why it is often used at the base of sweaters, sleeves etc to stop them from sagging and bagging).
So, to summarise, tension squares are a good investment of your time. However, I shall leave you with a word of warning. It is also worth checking tension from time to time as you work through your project. The increasing weight of the work as you progress can change the tension (as can relaxing into the project and getting the hang of the pattern etc) so it is worth keeping a regular check on it. So while the square is a good start, it is only the guide to get you knitting. Monitoring progress is also well worth the time (not least as I know people who have mistakenly picked up the wrong needle part way through a project and not noticed until a long way down the line when they have realised that the garment size changed part way through).
I hope that this post has been helpful and/or encouraged you to think of your tension before you start your next project. Best of luck developing your new habit. You will thank me for it (you are welcome!).
More exciting news came this week, this time from Rowan. I came second in their 2013 design competition the theme being to design a garment/accessory in their lovely yarns inspired by the Great Gatsby film. I was lucky to be able to visit the Willis Museum in Basingstoke as part of my research where they were displaying Hampshire County Council’s collection of 1920s dresses. This resulted in my take on the brief being a modular design incorporating a bit of sparkle (in the 1920s dresses there were plenty of beads adding to the glitz). The overall winner was Sigita Burskyte-Oliver with a lovely tunic knitted using Rowan Fine Lace and Kidsilk Haze.