Yarn 2013-31
Yarn 2013-31
Yarn 2013-31
Issue 31
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Publisher
ArtWear Publications
Editor
Michelle Moriarty.
Art Director
Kylie Albanese.
Consulting editors
Rose Long, Wendy Knight, Anna Garde,
Liz Haywood.
Photography
Article photography by contributor unless
otherwise started; Kristie from Figtree Pictures
pgs 22-27, 32-43 www.figtreepictures.com;
and more . . .
Victoria from Essence Images pages 10-14
www.essence-images.com.au
Contributors
Liz Haywood, Robynn El-Ross, Jude Skeers,
contents issue 8
Wendy Knight, Marius Cuming, Judith Webster, W Cast on W Patterns cont’d
Jenny Occleshaw, Melissa Deutsch Scott,
Editors’ notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Penguin Parade Jenny Occleshaw . . . . . . . . . 16
Alana Clifton-Cunningham, Lynne Johnson,
Kiri FitzGerald-Hillier, Lorraine O’Brien. Letters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Cloche2U: 2 hats Melissa Deutsch Scott . . . 22
Cover
Book Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Woven Garter short row hats Lynne Johnson 26
Concept, photography and styling by Lisa Artisan Vest Wendy Knight . . . . . . . . . . . . . . 32
Lloyd, www.lisalloydphotography.com.au ;
Model Hana Perera, Makeup Shantala W Columns Slimline Hoodie Lorraine O’Brien. . . . . . . . 35
Mack; web by Jude Skeers. Traveling Stitches Liz Haywood. . . . . . . . . . . . . 6 Bloom Shawl Kiri FitzGerald-Hillier . . . . . 40
Admin assistant Tech Talk: Slip-Stitch & Mosaic Jude Skeers . . . 44 Visual Arts Diary cover (Tunisian Crochet)
Dawn Bordin. Profile Alana Clifton-Cunningham . . . . . . . . . 28 Robynn El-Ross . . . . . . . . . . . . . . . . . . . 49
Advertising sales
W Features
& marketing: Michelle Moriarty
[email protected] W Cast off
02 6687 4002. Tunisian Crochet part 3 Robynn-El Ross . . . . . 46
Advertisers’ Index. . . . . . . . . . . . . . . . . . . . . . . . 2
Published in Australia Wool4Skool Marius Cuming . . . . . . . . . . . . . 56
Printed in China by Everbest Printing Co Ltd.
Yarn Related Yumminess . . . . . . . . . . . . . . . . . . . 50
All contents © YARN Magazine 2013. The purchaser Acknowledgements Thank you to our models, Amy & Hailey, who were photographed on a chilly 10 degree Celcius day,
of this magazine may make a single copy of any trying to appear as if they were basking in the sunshine; to Lisa for the concept cover shot idea (you did a fantastic cover for us
pattern contained within for personal use only. Please
do not give copies to your friends. Contact us to talk and we love your photography and styling skills); to the contributors for their great work; to our tech editors for their superior
about reproductions, including intended sale of items
mathematical skills and to our readers and subscribers for supporting an Australian independent publication (and to the subscribers
made from patterns within this magazine. If you have
any questions about obtaining permissions or about who sent survey forms back in—there were MANY).
this policy, please contact us at the address above.
Craftermath
Socks, socks and more SOCKS
[kraf-ter-math] noun
Massive amounts of creative supplies left lying around
after working on craft projects.
—A Christie-Johnston
Ed’s Note—We always knew that this frequently occurring
$ 10
phenomena should have a proper name. Calling it “mess” Includes: Bushwalker socks,
just does not seem right. Downloadable PDF online Lone heart heel socks,
www.artwearpublications.com.au A sock for Helen + more!
Knit Back In Time The yarn choices offer a good deal of year round variety
too, ranging from cotton, rayon, soy, silk, linen, hemp,
Geraldine Warner (Search Press) bamboo and synthetic mix yarns to a blended alpaca
ISBN: 9781844489046 RRP $34.99 yarn, but interestingly, not a touch of wool!
Crochet Noro:
30 Dazzling Designs
Individual Designers (Sixth &
Spring/Capricorn Link)
ISBN: 9781936096480 RRP $34.99
and How of twist worked on every right side row (ie every second row)
on the k2. The rib is still very springy and the back of the
rib has a subtle texture between the ribs. Use traveling
“Traveling stitches?
Is that when you knit while
we’re in the car?”
Me: “No, no, read this article”
What?
Traveling stitches are made by working two or
sometimes three stitches out of sequence, forming lines
of stitches traveling over the surface of the knitting.
They’re also called twists, cross-over motifs, mini
cables or 1 by 1 cables. In fact they’re the smallest cable
possible to make because they’re just one stitch crossed
over another. Like cables, traveling stitches yield a
thicker and less flexible fabric depending on the density
of cross-overs in the pattern.
Traveling stitches are easy to do, with lots of small but
important variations that can change their appearance.
They can look like miniature cables or textured rib, Traveling stitches are often used with Aran or cabled
arranged in diamond, zig-zag, lattice, diagonal, or designs. Used on their own they give a miniature
herringbone patterns, and be presented on different Aran effect.
background stitches like stocking stitch, reverse This mini Aran swatch employs knit-knit right twists for
stocking stitch, garter or moss stitch. the two stitch vertical columns and knit-purl left and
A design element with beautiful and diverse right twists for the zig zags in between. All the action
possibilities, traveling stitches can be combined happens on the right side rows; on the wrong side the
with cables, employed as an all-over pattern on knit stitches are knitted and the purls purled.
their own, showcased as a single motif or used as a
band of decoration.
The actual twist, where the two stitches swap places,
can be worked on a right or wrong side row or both.
The two stitches can be both knit, both purl, or a
combination. Instructions for traveling stitch patterns
can be charted or written, and can be worked flat
or circularly, although circular knitting is easier for
patterns where the twist occurs every round because
the right side is always facing you. To change a pattern
from flat /back-and-forth knitting to circular, simply
read every row of the chart from right to left, and work
all the traveling stitches as right-side-row ones.
The best yarns to use for traveling stitch patterns have
a smooth twist, the smoother and less fuzzy the yarn
the better you’ll be able to see the stitch pattern. Solid,
lighter colours show off the design best, leave hand
dyed or variegated yarns for other projects. Smoother
plied yarns appear to be slightly more effective than
crepe yarns.
How?
Since traveling stitches are actually cables, you could
make them just like a cable, using a cable needle. That’s
kind of fiddly though. The most direct way is to knit the
two stitches out of order, you knit the second stitch then
the first, and then slide them off the needle together.
Here’s how:
To work a left slanting twist:
To work a left slanting twist: Right slanting twist with 3 knit stitches:
Slip two stitches as Knit into the front of the 3rd stitch, then the 2nd, then the 1st
if to purl. Slip them stitch, then slip all 3 stitches off the left needle together.
back to the left
needle by inserting Left slanting twist with 3 knit stitches:
the left needle into (yarn behind) Knit into the back of the 3rd stitch, back
the two stitches of the 2nd stitch, and front of the 3rd stitch, then slip all 3
from right to left stitches off the left needle together.
through the fronts
of the stitches. This Right slanting twist, knit over 2 purls:
switches the position of the two stitches and they are (yarn behind) Knit into the front of the 3rd stitch, then
now ready to knit or purl. (yarn forward) purl into the front of the 1st stitch, then the
2nd stitch, then slip all 3 stitches off the left needle together.
To work a right slanting twist:
Right slanting twists are even easier. Slip two stitches as Left slanting twist, knit over 2 purls:
if to knit two together. Slip them back to the left hand (yarn forward) Purl into the back of the 3rd stitch, then the
needle, and they will have switched positions and are 2nd stitch, then (yarn behind) knit into the front of the 1st
now ready to work. stitch, then slip all 3 stitches off the left needle together.
Bavarian twisted stitch knitting has all the traveling Read more:
(knit) stitches knitted through the back loop, giving an Any good encyclopedia of knitting or stitch collection should have a
section on traveling stitches (eg- “Barbara G Walker’s First Treasury of
extra textural dimension, with the purl stitches purled
Knitting Patterns”).
as normal. Also, it is usual in twisted stitch knitting for Take a look in “Cables” chapters, too, for traveling stitch and cable
the traveling stitch action to take place on every row, combinations.
not just the right side row, therefore circular knitting
“Twisted-Stitch Knitting: Traditional Patterns and Garments from the
is recommended here so that the right side is always
Styrian Enns Valley” by Maria Erlbacher (2009 Schoolhouse Press). An
facing you. It is possible to work on the wrong side, but amazing book, full of beautiful stitch patterns and many challenging
the knit stitches (now purl stitches on the wrong side) things to knit.
still need to be twisted. It’s achieved by purling the purl
stitches through the back loop on the wrong side, and “Power Cables” by Lily M Chin (2010 Interweave Press) has a chapter on
traveling stitches and two projects to try.
working the rest as normal.
“Mary Thomas’s Book of Knitting Patterns” by Mary Thomas (1972
This grey sample was knitted from some patterns I chose Dover Publications) briefly describes traveling stitches with some stitch
from “Twisted-Stitch Knitting: Traditional Patterns patterns in the “Cross and cross-over motifs” chapter.
and Garments from the Styrian Enns Valley” by Maria “Patterns for Guernseys, Jerseys and Arans” by Gladys Thompson (1972
Erlbacher 2009 Schoolhouse Press. I knitted it in the Dover Publications) has some intricate designs for the experienced knitter.
round like a sock and then cut it, so that I would always There are no charts; the directions are all written. Second hand copies of
be working from the right side. I used the slipped stitch this classic book are available very cheaply online.
Crow’s
Abbreviations
Right twist: slip one stitch to the cable needle, hold at
back, knit the next stitch tbl, then purl the stitch on the
Nest Mitts
cable needle. OR, if you prefer to work without the cable
needle: Slip 2 stitches to your right needle. Reach behind
the right needle with your left needle and poke the tip up
By Judith Webster under the back of the 2nd stitch. Pull both stitches off the
right needle, holding the base of the loose stitch with your
Yarn Sublime Baby Cashmere Merino Silk DK or Cashmere left forefinger if you’re worried about losing it. Pick up this
Merino Silk DK 75% Merino, 20% Silk, 5% Cashmere hanging stitch with the tip of your right needle and slide
(50g/1.75oz, 116m/178yds, 12wpi, equiv Aust 8ply, CYCA back onto the left needle. Ktbl, p1.
#3, Double Knit weight) 2 balls. Left twist: slip one stitch to the cable needle, hold at the
Needles and notions 3.5mm (US 4) dpns; waste yarn; front, purl the next stitch, then ktbl the stitch on the cable
three stitch markers; needle to sew in ends needle. OR, if you prefer to work without the cable needle:
Tension 35st to 10cm (4inch) in twisted rib, unstretched Slip 2 stitches to your right needle. Reach in front of the
with 3.5mm (US 4) needles; as the rib is very stretchy, you needle with your left needle and pick up the 2nd stitch.
may like to test your needle size by knitting a small swatch Pull both stitches off the right needle. Slip the hanging
in the round as follows: stitch back onto the left needle. P1, Ktbl.
Cast on 48 stitches and join. Work 4 rounds in k1tbl, p1 Right twist knit: slip one stitch to the cable needle, hold
rib, then work 10 rounds of the motif pattern. Cast off at back, knit the next stitch tbl, then k tbl the stitch on the
loosely and test the fit on your wrists. cable needle. OR, if you prefer to work without the cable
Notes If choosing a different yarn, ensure it is strong needle: as for the right twist, switch the stitches on your
and stretchy enough to ensure smooth stitch definition left needle, k each tbl.
(textured or tape yarns not recommended) and that you Left twist knit: slip one stitch to the cable needle, hold at
can work the twisted stitches comfortably (the yarn needs the front, k the next stitch tbl, then k tbl the stitch on the
to have a degree of elasticity). cable needle. OR, if you prefer to work without the cable
All knit stitches are worked tbl (through the back loop) needle: as for the left twist, switch the stitches on your left
except for those in the thumb gusset which are knit normally. needle, k each tbl.
Right Mitt
Work as for left glove until Round 35. The gusset increases
are worked on the other side of the motif panel. The
increases will therefore start in the first knit stitch after
the panel (instead of the last knit stitch of the round).
Round 35: Work panel as per chart. Place marker, M1R,
k1, M1L, place marker, p1. (k1tbl, p1) to end of round.
Round 36: Work panel as per chart. Slip marker, knit to
next marker, slip marker, p1. (k1tbl, p1) to end of round.
Right Mitt
Work as for left mitt until Round 35. The gusset
increases are worked on the other side of the motif
panel. The increases will therefore start in the first knit
stitch after the panel (instead of the last knit stitch of
the round).
Round 35: p1, left twist, p3, k1tbl, p10, k1tbl, p3, right
twist, p2. Place marker, M1R, k1, M1L, place marker, p1.
(k1tbl, p1) to end of round.
Round 36: p2, left twist knit, p2, k1tbl, p10, k1tbl, p2,
right twist knit, p3. Slip marker, knit to next marker, slip
marker, p1. (k1tbl, p1) to end of round.
Round 37: p1, right twist, left twist, p1, left twist, p8,
right twist, p1, right twist, left twist, p2. Slip marker,
M1R, knit to next marker, M1L, slip marker, p1. (k1tbl,
p1) to end of round.
Round 38: p1, k1tbl, p2, k1tbl, p2, left twist, p6, right
twist, p2; (k1tbl, p2) twice. Slip marker, knit to next
marker, slip marker, p1. (k1tbl, p1) to end of round.
Continue to work gusset increases as set every second
(odd numbered) round until Round 53. On alternate
(even) rounds knit the gusset without increasing.
Rounds 39-53: Work as per left mitt instructions,
working gusset as set between your gusset markers at
the end of the panel chart, then p1, (k1tbl, p1) to end
of round. You should now have 21 stitches between the
gusset markers.
Round 54: p1; (k1tbl, p2) twice; (right twist, left twist,
p2) twice; (k1tbl, p2) twice. Remove marker. Put next
21 stitches on waste yarn, remove 2nd marker. p1,
(k1tbl, p1) to end of round.
In the next round you will rejoin the mitt where the
gusset markers were.
Rounds 55- 69: Work as per left mitt, working the
stitches after the panel section as set; that is, p1 (k1tbl,
p1) to end of round.
Round 70: (k1tbl, p1) eleven times; k1tbl, p2tog tbl;
(k1tbl, p1) to end of round.
Rounds 71-74: k1tbl, p1 around
Cast off in rib. Work thumb as for left mitt.
One ball of 50g (1.75oz) 4 ply cotton (CYCA #1) will make 3 penguins
and you only need little odds and ends of 4 ply to make their clothes
and accessories. Take your time with sewing up and �inishing and you
will achieve a really good result. My penguins all have names but you
might like to name your own. These penguins are a good way of using
up odd bits and pieces and it does not matter if all the buttons and
beads do not match. Doll suppliers have good accessories.
Next row – K9, skp, K2tog, K18, skp, K2tog, K9 [40sts] To Make Up
Next row – Purl. Take the penguin body piece and with right sides together
Next row – K8, skp, K2tog, K16, skp, K2tog, K8 [36sts] sew two thirds of the back seam closed. Turn the right
Next row – Purl. way out. Stuff your penguin firmly. Turn him or her
Next row - *K2tog, K1, rep from * to end [24sts] around as you go to ensure you have a lovely roly poly
Next row – Purl. shape. Penguins are not slim. When you are happy with
Next row – *K1, inc in next st, rep from * to end [36sts] the shape of the body and the head, finish the back seam
Work 11 rows st st beg with a purl row. as invisibly as possible. Pin the tummy piece on the front
Next row - *K2tog, K1, rep from * to end [24sts] of the penguin, ensuring that you have it the right way
Next row – Purl. up. Plenty of pins really do help. Ensure that you have
Next row – K2tog all across. stretched it out to make a nice rounded shape. Stitch all
Next row – P2tog all across. Break off yarn. Thread round, using white yarn and very small stitches. Now sew
through rem sts, pull up tightly and fasten off. on the flippers at the shoulder point, this is at neck level.
Tummy Piece Next, pin the beak centrally in the face and stitch all round
Using 2.75mm (US 2) Needles and white yarn, cast on using very small stitches. Finally place the feet together at
8 sts (you are starting at the lower edge, pin this end at the front of the body and stitch in place. You are now ready
the feet end when finished). to sew the eyes. Either place a pin where you want each
1st row – Purl. eye to go or make a little mark with a chalk pencil. This
2nd row – Inc in each st [16sts] will ensure your penguin’s eyes are even. You don’t want
Work 17rows st st beg with a knit row. him having a cross-eyed look (or maybe you do). Take 3
Next row – skp, K12, K2tog [14sts] strands of white embroidery cotton and make a bullion
Next row – Purl. loop knot with approx. 20 wraps where you have made
Next row - skp, K10, K2tog [12sts] your pencil mark. Do the same on the other side. Sew the
Next row – Purl. black bead in the centre of the bullion loop knot. Your
Next row – K2tog all across. penguin is now ready to dress.
Cast off.
Accessories for Chef Penguin
Penguin Flippers (Make 2) Chef Hat
Using 2.75mm (US 2) needles and black yarn, cast on 8 sts. Using 2.75mm (US 2) needles and cream yarn cast on
1st row – Purl. 34sts, work 4 rows st st, beg with a knit row.
2nd row – inc in each st [16sts] Next row – Purl.
Work 13 rows st st beg with a purl row. Beg with a purl row work 7 rows st st.
Next row - *K2tog, K2 rep from * to end [12sts] Next row- Inc in every st [68sts]
The hats are worked from the top down, which is useful
when you’re not confident on the meterage in the stash
(the border can be worked in another colourway to nice
effect). Both hats are worked basically the same until the
border, with variations noted in brackets for Hat B.
Read Row 1 and following odd rows right to left, Row 2 and
Profile:
of design, and challenges traditionally
established rules and perceptions. It can
potentially blur the boundaries of what is
Alana Clifton-
considered fashion design, into art. While
conceptual fashion design has always been
a debatable issue among fashion scholars
Cunningham
(as to whether it can be viewed as fashion,
anti-fashion or possibly art) this work
observes the influences of modernity and
By Alana Clifton-Cunningham deconstruction, in relation to knitting.
Knitting has the ability to be manipulated
and molded into two and three-dimensional
armsling
(photographer
Seung Rok Baek)
shoulder wrap
(photographer
Seung Rok Baek)
neck pods
(photographer
Seung Rok Baek)
Second Skin
The work created for the series Second Skin (2006-
2007) investigated hand and machine knitting
techniques appropriating patterning techniques from
the tradition of scarification. The work interprets body
scarification in the form of tribal markings, which
allows each piece to transform into a second skin to
convey interpretive narratives and visual messages.
The ‘body pieces’ incorporate elements of mixed media
and new technologies including laser cut timber veneer
and leather, and explore juxtapositions such as hard
and soft, rough and smooth, mass and gradation.
The traditional practice of body scarification is a
tactile language inscribed onto the surface of the skin.
In some cultures scarring signifies a ‘rite of passage’
such as sexual maturity, the journey from childhood
to adulthood, or social acceptance. Other forms of
Second Glance 3 (photographer Jennifer Chua). scarification serve the purpose of tribal identification,
spiritual protection, or aesthetic beautification.
forms through the knitting/making process. It is very
versatile and can be highly patterned and textured, Topographical Complexities
making it a unique medium. Through hand and machine In 2012 I was invited to participate as a guest artist
knitting methods of making, the work interrogates the in the Fashion Art Biennale in Seoul, Korea. The work
notion of ‘deconstruction’ by looking past the traditional produced for this exhibition examined the broad theme
knitted coverings for the body. Knitting here functions ‘The destruction of nature’. In response to this theme,
as a vehicle for ‘deconstruction,’ with familiar garment the work titled Topographic Complexities addressed
structures transformed into disarticulated ‘body pieces’. issues relating to coral bleaching. The work was created
Flourish_II_pocket
(photographer Paul Pavlou).
though short row shaping a three-dimensional form in how knitting functions on the human body. There
gradating scale, that were then assembled by hand to is a still a practical nature to the work that I create,
form an arm covering. but I hope to shift people’s thoughts and views with
The work that I do will continue to address a variety regards to what knitting should be, especially within
of issues and concepts and push the boundaries of a fashion context.
we also provide:
• Wholesale and retail Natural Fabrics Yarns & Fibres
• Felting products inc. prefelts in a range of colours
• Knitting & embroidery yarns • Threads • Fibres • Dyes
• Business support services • Direct importing services
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• Workshops - See website for schedules
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Upcoming workshops:
Coming in October and November 2013, a special series
of workshops, natural fermented indigo, presented by
Paris based master Mali dyer Aboubakar Fofana.
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M
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HERITAGE
Crochet jacket and knitted lace shawl
from the Patons archives.
Leaflet 0004
Central Motif
Using 5mm DPN’s and CC cast on 4 sts, place 1 st on
N1, 2 sts N2 with a stitch marker between them, 1 st
N3. Change to 60cm circular needle when number of
stitches is too great for DPN’s. Motif is worked in the
round with each round’s instructions repeated 4 times
(chart and written).
Work Motif Chart or follow written instructions below,
referring to written instructions for rounds 24 and 25
in regards to marker movement.
Finishing
Sew in ends. At top of motif use ends to pull pattern
together, block, pinning out points on bottom edging.
Edging Chart A
Edging Chart B
The simple technique of slipping stitches opens Most wide-ranging books on knitting, whether
the way for a multitude of possible variations and they be encyclopaedias, treasuries, essential guides
permutations. Many patterns have been published or handbooks, include a section on slip-stitch and
with this uncomplicated concept. Stitches can be mosaic knitting. There are many excellent recent
slipped to the back or front of the work. The number publications with coloured slip-stitch motifs,
of stitches to be slipped can vary as can the number including Colorwork for the Adventurous Knitter
of rows that a stitch is slipped over. (2012), by Lori Ihnen, which is excellent for the
knitters wanting to start experimenting with this
Single coloured Slip-Stitch motifs are used where technique. For the more experienced knitter, Pop
the design is about texture, for example to create a Knitting (2012) by Britt-Marie Christoffersson is
ladder or herringbone effect; using more than one recommended. The Essential Guide to Color Knitting
coloured yarn puts the emphasis on the variations in Techniques (2008) by Margaret Radcliffe has an
colour. Montse Stanley in her 1982 book Creating & extensive range of slip-stitch patterns.
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Crochet: Part 3 the front of your work. Distribute the clusters evenly on
the fabric background of Classic Tunisian as an all-over
pattern, or group them together in geometric patterns.
By Robynn-El Ross
I have demonstrated both methods in my sample. The
Building a collection of Tunisian samples and placing return pass for every row is Classic Tunisian stitch.
them in a V.A.D. (Visual Arts Diary) with notes, will Foundation row: Work 20 chain.
enable you to create your own special articles with Row 1: Classic Tunisian stitch.
different stitches at a later date. I prefer to use an A5 Row 2: I made 5 chain after the 5th, 10th and 15th stitch.
V.A.D., or “Ideas Book” with acid free paper as it is Row 3: I made 5 chain after the 4th, 6th, 9th, 11th, 14th and
portable and the samples can be paper clipped in, 16th stitch.
or stapled at the top. That way, you can still turn to Row 4: Repeat Row 2.
the wrong side of the sample to check your present Rows 5, 6, 8 and 10: Classic Tunisian stitch without
technique is the same as the original and that the stitch clusters.
formation is correct. The paper allows you to label in Row 7: I made 5 chain after every 2nd stitch across the
any medium you like and it is ideal for jotting down row, making 9 clusters.
ideas and making thumbnail sketches in any colours, Row 9: I made 5 chain clusters in the alternate gaps
shapes, patterns and techniques you want to remember. from Row 7.
When 10 rows have been completed, cast off as shown
In this article, I have written the instructions for five in Yarn issue 30, Tunisian Crochet, Part 2.
different stitches: Tunisian Cluster, Stocking, Treble,
Eyelet and Crossed stitch. Some of these have different
names in other countries, so I have deferred to the more
popular or Australian term.
If you wish to compare size, stretch, strength or the 5 chain ready to hook
overall aesthetic appeal of a pattern, ensure you use in the vertical bar to
the same ply yarn with the appropriate hook size complete a cluster.
throughout your samples. (Refer to the table later in
this article.) Label each one and document your version
of the instructions in a way that make sense to you in
your V.A.D. I often write notes in “Robynn-speak” as it is
easier for me to remember the rhythm of the technique
Cluster stitch sample.
this way.
closer together. That is the reason I Row 32: Repeat Row 11.
chose this stitch for the �lap, as this Rows 34 and 35: Treble stitch.
made a tighter �it at both ends for a Rows 36, 38, 40 and 42: Classic
professional �inish to my diary cover. stitch.
Row 1: Base row of Classic stitch. Row 37: Repeat Row 11.
Rows 2, 4 and 6: Crossed stitch. Row 39: Repeat Row 13.
Rows 3, 5 and 7: Classic stitch. Row 41: Repeat Row 11.
7. These seven rows complete the �lap Rows 43 and 44: Treble stitch.
that folds to the inside and is sewn This is the fold line for the other
Visual Arts
to the body of the cover when you �lap to be sewn to the body when
have completed Row 26. you are �inished.
Rows 8 and 9: Treble stitch. Rows 45, 47 and 49: Classic stitch.
8.
yum
wardrobe staple that it
makes sense to create a
yarn related
yumminess . . . 4
yum
Beautiful blended Corriedale tops are available at Tasmanian
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Tarndwarncoort
Polwarth Wool
64 BRILLIANT COLOURS
in Softest 100% Australian Merino First Cross Yarn
Now in both 4 & 8ply
1 2 3 4
Knit stitches abbreviations
*, ** repeat directions following * or ** as many
times as indicated
alt alternate
CC contrast colour
cm centimetre(s)
dec(s) decrease(s)/decreasing Working through the back of a loop (tbl) (1) k tbl: Put the needle through the back
dpn(s) double-pointed needle(s) loop of the st as shown. (2) p tbl: put the needle through the back of the stitch from left
foll following to right. (3) k2togtbl Knit two stitches together by putting the right needle through the
inc(s) increase(s)/increasing back loops of two stitches at once. (4) p2togtbl Purl 2 sts together by putting the right
g st garter stitch: k all rows (back and forth); in
needle through the back loops of the two sts at the same time from left to right.
rounds, work 1 round knit, next round purl
K, k knit
k2tog knit 2 sts together (decs 1 st; a right-leaning dec) Three-needle join/cast off Bring together two pieces of knitting on separate
kfb knit into the front and back of the same st needles, right sides facing. The near needle is the ‘front’ needle, and the other the
(incs 1 st) ‘back’ needle. Insert tip of a third needle knitwise through both the first st on front
m metre(s) needle and the first st on the back needle. Knit the two together onto the third needle.
m1 make 1 (raised increase) Repeat the same manoeuvre on the next st on the front and back needles, giving you
m1L make 1 leaning left
m1R make 1 leaning right two sts on the right needle. To work as a cast off, simply lift the first stitch on
MC main colour the right needle and drop it over the second in the usual manner. Continue this way,
mm millimetre(s) knitting two together off the paired needles and casting sts off right needle, until only
P, p purl one st remains on right needle. Break thread and draw the last loop closed.
PM, pm place marker
psso pass slipped stitch over
p2tog purl two sts together. M1 Insert the left needle from the front to back of the horizontal loop between the
RS right side two stitches. Knit the stitch through the back loop as shown.
skp slip 1, knit 1, pass slipped stitch over This sort of increase will make a left-leaning increase (M1L). To make a right leaning
Sl, sl, s slip increase (M1R), insert the left needle from the front to the back of the horizontal loop
Sm, sm slip marker
between the two stitches. Knit the stitch through the front of the loop.
ssk slip, slip, knit the 2sts tog (left leaning dec)
st(s) stitch(es)
st st stocking stitch: k one row, p one row (flat); k
all rows (circular knitting)
tbl work st(s) through back of loop(s)
tog together
WS wrong side
yb yarn back
yf yarn forward. Makes a st on a K row by moving
yarn to front of work under right hand needle.
yo yarn over. See also ‘yrn’ Wrap and turn (short-row wraps) On a knit row: yf, sl 1, yb, return sl st to left-
yrn yarn round needle. Before a purl st must go hand needle, turn and work back across without working wrapped st. On a purl row,
fully around the needle. yb, sl 1, yf, return sl st to left-hand needle, turn work and work back across without
working wrapped st.
1 2 Working wrap with st When working a knit row, insert needle from below into
the wrap and k wrap together with the st as directed.
* The 1 & 2 ply yarns are normally used for open worked, lace patterns so the stitch
count and needle size can vary tremendously depending on the project.
** Steel crochet hook sizes may differ from regular hooks.
This table complied by Michelle Moriarty, referencing various Encyclopedias, USA
CYCA Standards, Knitpicks, Nancy’s Knit Knacks, Ravelry and in consultation with
Amelia Garripoli. © This table is copyright to Yarn Magazine.
2
To start a sl st (slip stitch) or
dc (double crochet): (1) insert
the hook into the next stitch, pick To make a ttr (triple-treble, or treble-treble crochet) you
up the yarn with the hook and pull need a turning chain of five stitches. Wrap yarn around hook three
it through the st to the front. To times. (1) Insert your hook into the stitch you’re crocheting into
complete a sl st pull the loop all swirl hook and (2) pull yarn through stitch (5 loops on hook). Swirl
the way through the second loop. hook and pull yarn through two loops (4 loops on hook). Swirl
To complete a dc (2) pick up the hook and pull yarn through two loops (3 loops on hook). Swirl
yarn with the hook again and pull it hook and pull yarn through two loops (2 loops left on hook). Swirl
through the two loops. hook and pull yarn through remaining two loops.
To make a htr
(half-treble
crochet) or a tr
Crochet stitches - We say torch, you say flashlight.
(treble crochet) Australian/UK North American
(1) pick up the yarn chain (ch) chain (ch)
with the hook. (2) double crochet (dc) single crochet (sc)
1 2 Insert the hook into treble crochet (tr) double crochet (dc)
the next st, catch half treble crochet (htr) half double crochet (hdc)
the yarn with the hook and pull it through to the front (3 loops on hook). To complete a htr, catch the yarn
double treble (dtr) treble crochet (tr)
again and pull it through all 3 loops. To complete a tr, catch the yarn again and pull it through the first 2 loops
slip stitch (sl st) slip stitch (ss)
on the hook; pick up the yarn with the hook again and pull it through the rem 2 loops on the hook. In (2) you
can also see the effect of working sl sts across a row to decrease. Here, 4 sts have been decreased. triple treble (ttr) double treble (dtr)
miss skip (sk)
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