a stitch in time : eee ROO KNITTING SKILLS RITA TAYLORNom en ecto to medieval Europe, knitting was once Seca oa ena een commissioned exquisite garments mai from the finest silk. Over time, the craft eee en neta ae Saag omeaca eco ious traditions that developed have since passed lovingly from one generation to the next, while trade, tourism, and See re etc of the craft across the globe. Ind Stitch in Time: Heirloom Knitting skills, knitwear designer Rita Taylor explores the most lasting of these knitting traditions. Heavily textured fishermen’s weaters, super-fine lace shawls, geometri color-stranding, and all manner of bobbles, ewists, and cables can be found Pees Crean anne! Prec Ceara 12 projects that feature her favorites, eset mga bce cake eeicuh ss inspiration for designs of your owna stitch in time HEIRLOOM KNITTING SKILLS WITHDRAWN FROM COLLECTIONa stitch in time HEIRLOOM KNITTING SKILLS RITA TAYLOR BARRON'SA Quantum Book Copyright© 2013 Quantum Publishing Firs edition for North America and the Philippines published in 2013 by Barrons Educational Series In All rights reserved. [No part of this publication may be reproduced or distributed in any form or by any means without the written permission of the copyright owner. All inquiries should be addressed to: Barron's Educational Series, Inc. 250 Wireless Boulevard Hauppauge, New York 11788 ‘www barronseduc.com ISBN: 978-1-4380-0195-1 Library of Congress Control Number: 2012948358 “This book is published and produced by ‘Quancum Books 6 Blundell Sereet London N7 9BH QUMSTHK Publisher: Sarah Bloxham Managing Editor: Samancha Warrington Editor: Anna Southgate Assistant Editor: Jo Morley Pattern Checker: Joanna Benner Designer: Blanche Williams at Harper Williams Led Photographer: Becky Joiner, Simon Pask Chare Illustrator: Stephen Dew Models: Samantha Warrington, Mollie Budden, Fred Williams Shoot assistant: Amy Morris, Project images shot on location a: ‘The Old Farmhouse, Somerset (01823 674567) Produetion Manager: Rohana Yusof 987654321 Printed in China by Hung HingContents Introduction Textured Stitches ‘Twisted Stitches Raised Stitches Cable Stitches Lace Stitches Colorwork Knitting Techniques Abbreviations and Chart Key Index ‘Acknowledgments 10 28 46 62 86 110 we) 142 143 144a Stitch in time | HETRLOOM KNITTING SKILLS 6 Introduction developed a keen interest in traditional knitting while living in Aberdeen, in Scotland, several years ago. Many of my neighbors wore beautiful hand-knitted Fair Ile sweaters, some of which were several years old and yee looked as fresh as new. One neighbor also regularly wore athap shawl around her shoulders. The women had made all ofthese garments themselves, without relying on printed patterns, but using traditional motifs and stitches that chey had learned from their mothers. Naturally each ofthese mothers had learned the patterns from their mothers before them. Born of a necessity to provide warm, durable clothing, knitting techniques and traditions have passed from one generation to the next, and from country to country during the course of many centuries. Consequently we can see the influence of various cultures in the stitches that we use today. Iwas 0 taken with the Fair Isle sweaters that I sec about learning how to take the familiar motifs and add my own choice of colors. Ietook a while to master the technique, but I am pleased to say that I gradually improved. Lalso learned +o make delicate Shetland lace shawls and created one of my own while Iwas expecting my son. Currently living in northeast Norfolk, in England, Ihave had the opportunity 10 study, at close hand, some traditional fishermen’s ganseys. Frequent visits to the ‘museums of Cromer and Sheringham— both of which have collections and ABOVE: Scottish herring gins knit while they seat forthe fing boas to arrive. They are ‘making socks, and are knitting in the round ssing double pointed needles information on these fascinating pieces—stimulated my interest and I have since collected numerous examples of the stitches used, many of which feature in the following pages. OF course, my experience is with traditional knitting styles and techniques from around the British Isles, bu similar traditions ean be found throughout the world, and many ‘of them are included in this book.RIGHT: A Fair bile sweater with repeated patterns two color. ts not unusual tse as many as for or five colors combined in such pieces, although each round of knitting incolos ing: A Brief History Although it seems certain that knieting originated in the Middle East, perhaps in the 11th century, it hasan elusive history Weaving probably eame first, as this would have been a fairly easy technique to develop without the need for any equipment other than the fingers. Fibers were made by twisting and stretching stems together. These fibers, usualy fax, could then be woven together to produce fabric. There are many depictions of ‘weaving looms in the combs of ancient Egypt. Some of the earliest fragments of this fabric were produced in the Middle East, and drop spindles for spinning cotton and flax have been found dating back to 3000 ace EUROPEAN TRENDS It is fargely thanks to Mediterranean trade routes chat knitting traveled from the Middle East to Europe, primarily through Spain, where the earliest pieces wwergmade for wealthy patrons or the Church. From Spain, knitting traditions spread further across Europe, with significane traditions evolving in France, Ikaly, Austria, Germa ia. Knitcing grew co be an important part of the economy in many of these countries, and it was not long before knitting guilds were established in order to protect and and Scandi maintain the standard of work that had developed over the yeas ‘On a domestic level, various countries began to specialize in different techniques, and these are the primary focus ofthis book. Austria and Germany favored cabled fabries decorated with colorful embroidery for example, while Scandinavian countries developed distinctive designs using two-stranded knitting, either in acolor or asa textured pattern. Seockings and hats were a familiar commodity in France and Italy, while Scotland and Ireland became known respectively for intricate decorative patterns and cables. Many of these traditions developed because of the way in which knitting was done atthe time—on a circular frame rather than with two needles. When knitcing “in the round; as the technique was known, the knitter always had the same side of the work facing him or her Tewas easy, therefore to develop a wide cof repeating textured patterns like those used for che fishermen’ ganseys that I have seen in Norfolk, and for which there are similar traditions all around the North Sea coasts and the Eastern seaboard of North America Everyday pieces of knitting were made for practical reasons; as they wore out they would be discarded. For the most part, they were made from perishable fibers, such as corcon, flax, or wool. Cotton was first cultivated in Asia and South America and there are some early fragments of socks knieted with cotton dyed using nacural plane introduction materials, Flax is choughe to have been cultivated long before this in and around the Me used fiber in northern Europe was sheep Jicerranean, The most commonly ‘wool, All ofthese fibers were spun by hand at frst, and this was ajob allocated to the women, Other fibers, such as silk, hemp, and nettles were used occasionally, but silk, imported from China, was only for the very wealthy With developing trade, Germany was chen known as exported wh Saxony wool; a fine sofe merino wool, which was much more pleasant to knit with than the more coarse wool used for stockings and workweat. This yarn also took well to dyeing and he wide range of colors that became available may have encouraged more people to take up knitting, and to produce a wider range of clothing and what we might now call accessories; shawls socks, petticoats, and some babywear.a stitch in time | HEIRLOOM KNITTING SKILLS eet ree eee = ye ‘TRENDS IN THE UNITED STATES From eaty in the 19th century knitting began to gain popularity in che English drawing room and, subsequently, in the American colonies. The knitting of stockings had been widespread in the 17th century, often paid for in tobacco rather than cash, Scottish knitters had for ‘many years been “paid” under a similar system known as the Truck system. A merchant would supply the wool and the knitter would be paid for the work in the form of goods from the merchant's shop, usually tea or soap, or sometimes cloth. The Governor of Virginia in 1662 offered ten pounds of vobacco for every dozen stockings, bue with the advent ofthe stocking frame in the mid- 18th century chis trade was no longer economic and knitting was undertaken more for pleasure than payment. Pieces ‘we would now call household items were ‘most popular, used for decorative rather than utiliey purposes. The families that emigrated to America would carry theie ABOVE: A mother steals. glance rom ber Aeuitting 10 admire her children in this ideal of fail life in colonial America LEFT: Influenced by the fine lace of 18th century Venice exquisite table mats and doilies feature in a number of domestic knitting ‘traditions from the United States to Euoni,traditions with them and so this country shows more influences than any other; Viennese lace doilies, Aran throws, and whitework counterpanes were among the favogite knitted items in 19th-century colénial homes. Using This Book Organized by stitch type, this book feayares patterns and projects using six main types of knitting stitch. All of chem have stood the test of time since they ‘were frst used, often centuries ago, in ‘many countries of the world, The groups are Textured Stitches, Twisted Stitches, Raised Stitches, Cable Stitches, Lace Stitches, and Colorwork. Thave chosen designs that crop up in more than one culture, even though they may feature more traditionally in a different form of textile, For example the tree of life appears in many guises in knitting—in textured work, traveling stitches, and colorwork. But italso crops up in other textiles from time to time—for example in cross-stitch embroidery from Europe or carpets of the Middle East. They may have been passed from one group of people to another via trade routes or they may have occurred spontaneously as knitters developed theie skills. What is evident is that these anciene stitches have traveled the world over time, handed down from one generation to the next, and adapted to suit different lifestyles, needs, and cultural trends Knitting stitches form a grid when placed together—sometimes square and sometimes rectangular—and this determines the shape of a colored or textured motif. There is no limit to the designs that can be produced, especially where a fine yarn and small needles are used. Even curved shapes can be achieved, as can be seen in the beautifully elaborate pictorial representations of birds and plants of Dutch brocade knitting and the snow ake designs cof Norway and the Shetland Islands Geometric designs, when placed beside or above and below one another, often tessellate to create new, intermediate shapes, so that any pattern with four lines of symmetry will work as an allover design. Cross shapes are popular patterns in knitting for exactly this reason. (Over 150 traditional patterns feature in this book, along with 12 projects that tusea number of them, or variations of them. The selection allows you to make the projects usinga range of different stitches. Choose those with the same stitch count to begin with, but as you become more proficient, adapt the pattems to your own choice of motif. You could also design a piece entirely from scratch by selecting one or more introduction ABOVE: A page from a sample book dating _from the mid-19¢h century. Among the samples «are some piees of slid wool knitting, of undyed Shetland wool and of colored knitting of the motifs ro create something completely unique YARN CHOICES Forall ofthe knitted swatches, Ihave chosen to use wool produced by the Natural Fibre Company in Cornwall, in an attempt to replicate the characteristics of the pieces as they would have been ‘made in the past. Sheep and goats were domesticated in many areas and their wool could be spun using a drop spindle —a very simple tool ofa pin, or stick, swith a weight on the end. Depending on the skill ofthe spinnerand the breed of sheep, yarn could be produced from the Finese weights for knitting lace to chunky thicknesses suitable for blankets. Wool isan ideal material for colored motifs, as itis slightly hairy and causes the strands to stick eogether, which is useful when joining in new colors, While the finest wools tend to be used for lacework, and cables show up best using smooth yarns in pale colors, there is no reason why you could nor substitute yams of your choice for any one of the projects given here.ii: One TEXTURED STITCHES ts Textured knitting stitches are among the world’s oldest, having originated in southern Europe during the late-16th century. Many of these stitches also _ happen to be the widest traveled. Featuring prolifically in the knitting traditions of several countries, they continue to be well known—and used—today. Age- old favorites, such as basketweaves, ladders, zigzags, diamonds, crosses, and hearts offer a relatively easy way of giving single-color knitted fabrics a richer, more interesting decorative finish.a Stitch in time | HEIRLOOM KNITTING SKILLS Knit and Purl 12 Before the 17th century all knitting was done in the round, The result wasa fabric (of uniform texture, witha knic stitch on the right side, and what became known as pur stitch on the wrong side. Commonly referred toas stockinette stitch, the technique produced pieces without a single raised scitch on the right side of the work. Early Textured Knitting The earliest known example of purl stitch i found on a pair of stockings from the tomb of Eleanora di‘Toledo, who died in 1562. The pattern around the top of the stockings employs afew rows of trellis diamonds and is similar to those on the nightshirt said to have been worn by King Charles lon the day of his execution in 1649. Ieis assumed, therefore, chat the purl stitch came into use early in the 17¢h century. Once it was discovered how to make the ridge on the right side, by working the stitch with the yarn at the front of the needles, it was used to form textured patterns, known as brocade. Some of the designs were extremely elaborate, taking the form of birds or flowers, but these garments were only forthe wealthy. ‘The purl stitch was also used to create ‘geometric damask-type patterns on the cotton vests or undershires(nattrje) oF Danish men and women. Again, such pieces often featured diamonds and cight-pointed stars. In Italy silk stockings with patterned tops, akin to the King Charles brocade stitch on page 23, were popular, while fine sik stockings with textured clocks from calf to ankle were being made in France. Domestic Developments As knitting traditions spread across Europe from the late-L8th century, the use of textured stitches became popular “The “discovery” of the purl stitch, at the turn of the 17th century, set knitting on a path of great innovation. Introducing the concept of textured stitches, it meant that fabrics could be created with all manner of subtle patterning, featuring repeated shapes and motifs laden with symbolism. within rural communities. Tis gave rise toa number of designs chat were based con things seen in the couneryside, such as hhen’s fooxprints, the ridges and furrows of the fields, or trees. Infact, the tree of life on page 22 is familiar symbol chat crops up in all cultures and in all kinds of erafis as does the six-pointed star on page 23, also known as the Norwegian star (see also, page 118). ‘Textured patterns have become particularly associated with the {geometric shapes seen on fishermen’ sweaters from around the North Sea coasts. The fact that many of the stitches are geometric has allowed them to take on sea-faring symbolism and a number of them are said to represent rigging, fishing nets, pennants, and herringbones, among other things. Larger motifs show anchors ABOVE: An early I8th-century Dutch petticoat, knitted in white,2-ply cotton. The representations of birds and leaves are depicted in knit and purl stitches alone and stars. Variations on several themes ‘ean be seen in the knitting traditions of towns and villages al around the coasts of Scandinavia and the Netherlands, as well as Britain. Fishermen traveled beyond their own countries and stiech patterns from one locality were often. picked up and copied by skilled knitcers in other regions. In some places, knitting was a valuable means of income for many women and they weren't ar all keen to have their ideas copied. Even today there are families who won’ allow their ganseys to be photographed.textured stitches THE GANSEY TRADITION The gansey tradition has continued down through many centuries as practical and serviceable workwear. Fishermen could spend many months at sea, sometimes in extreme temperatures and needed something warm and hardwearing, Th basic gansey shape isthe same whatever square o allow freedom of movement and ease of repair The type of yarn and the mode of working make these garments ideal: the combinations of knit and pur stiche means that the loops lie in different directions so tapping more ait. A gansey is traditionally kniteed in navy 5-ply woo! fn fine needles with about 12 stich ind 20 rounds to Lin (2.5m). Stitches are often cast on with the yarn doubled to give a firmer edge. Sometimes the welts are split at the sides but then the knitting is continued in the round as far as the armholes so that there are no seams to come undone, often with a purl stitch used to mark the position where the seams would be. Stitches are increased her side of this “seam” after about 12in 30cm) to form an underarm gusset, which eliminates any “pull” on this area essential in a garment that would be used every day for demanding work There is litle, ifany, neck shaping but straps are often added at the shoulders to give extra wideh, sometimes continuing down the sleeves. The sleeves are worked from the top downwards i order to facilitate repair when the salt them to fray. The areas across the chest and upper arms were often intricately atterned to keep the fisherman warm patterned area produced a TOP: A group offuherman from Sheringham in their hand -bnitted VE: This hand knitted si cap is thougha Stitch in time | HEIRLOOM KNITTING SKILLS 14 Textured Stitches Pillar Round I: Ké. Round 2: P4, Round 3: PA, Round 4: Ka Round 5: Kd Round 6: P2,k2, Round 7:P2,k2, Round 8: Ki. Round 9: K4 Round 10: P2, 2. Round 11: P2, 2 Round 12: Ka Round 13:K4 Round 14:4. Round 15: PA. Round 16: Ps Most textured stitches are known internationally. At their simplest, they ate variations of moss stitch, which alternates stitches, or stockinette stitch, which alternates rows. Others are more elaborate, adopting familiar motifs, such as ladders, stars, and anchors. Often knitted in the round, many of them follow a natural progression, for example a diamond shape or a zigzag, which can be fitted into a variable number of stitches and changed to suit the size of the piece being made. Basketweave Row 1:K7, (pl.kl) x3.pl Row 2: (KI, pl) x3,k1.p7 Row 3:P8, (KI, pl) x3. Row 4: (KI, pl) x3,kl, 7. Row 5:K7, (pl,k1)x3.pl. Row 6: (KI, pl) x3.K8. Row 7:K7, (pl, kl) x3. pl Row 8: (K1, p!}x3,kl, 7. Row 9:P8, (KI, pl) x3. Row 10: (KI, pl) x3, p7 Row 11:7, (pl. kl) x3.pl Row 12:P7, (kl, pl) x3, Row 13: (PI, kl) x3, pl, k7 Row 14: K8, (pl, kl) x3. Row 15:(P1,k1) x3, p17, Row 16: P7, (kl, p1) x3, kl Row 17: (PI, k1)x3,p8 Row 18:P7, (kl, p1) x3. Kl 2 a 19 20 imieiaietatale 15 2B u Row 19: (PI, kl) x3,p1,k7. 2) Row 20: KS, (pI, kl) x3. Row 21: (PI, kl) x3,p1,k7. Row 22: P7, (KI, pl) x3,kl. > aaSteps Round Is K4, pl kl, pl 3 Round 2: Ka, p3k3 Round 3: Ka, pls kl pl 3 Round 4: K4,p3.k3 Round 5:4 pls pk Round 6: PIO. Round (PI, kt) Round 8: P10 Round 9:K4, pl kl pK Round 10: Ki, p43. Round 11: K4, pls kd, pls. Round 12: Ké, p43. textured stitches ota ING. 10 8 6 Net Mask Round 1: P2, ki, k4, pl Rep from * k2, p2. Round 2: P2, kl, k4, pl 7, pl 3. Rep from * 2, p2. Round 3: P2, 1," K3, pl, kl. pl, 5, pl. kl pl, k2. Rep from *k2, 2 Round 4: P2,1,*K3, pl, kl, pl, k5, pl. kl pl, K2. Rep from *,k2,p2. Round 5: P2, kl,” k2, (pl, k3)x3, pl. kL Rep from * k2, 2. Round 6: P2, kl, *k2, (pl.43) 3, pl. Kl. Rep from *,k2, 2. Round 7: P2, ki, (kl, pl. kS, pl) x2. Rep from, k2, p2. Round 8: P2, kl, (k1, pl. KS, pl) x2. Rep from k2, p2. Round 9: P2, KI, (p1, K7) x2. Rep from *, plskl, p2 Round 10: P2, kl, (pl, k7) x2. Rep from pls kl. p2 Round 11: P2, 1, (kl, pl. 5.1) x2. pLk3. Rep fiom 42, p2. Round 12:2, kl, (Kl, p1,K5, pl) x2. Rep from K2, p2 Round 13:2, Rep from" K2, p2 Round 14:2, k Rep fom * 12, Round 15:2, k,°K3, pl, p15, pl kl 1,2 Rep from 2, p2 Round 16: P2,kl,"K3, plskl,plok5.plokl, pILK2. Rep from *K2, 2 Round 17: P2, i,k, pl K7, pl 3. Rep from" 12, p Round 18: P2, kl, k4, pl, R73. Rp from K2, p2 Round 19:P2,I,"k3, pl, Kl pL kS, pl. kl, i, 2. Rep fom 42, p2 Round 20: P2,k, 3p. kl, ILS. pl pl, 2. Rep rom 2, p2 Round 21: P2,kl,"k2, (pl, k3) x3, pl, Kl Rep fromm k2, p2 Round 22:2, *K2, (pl, k3) x3, pl, kl *k2,(pI,k3)x3, pk. “2, (pI,k3)x3, pL kl 2 14 12 10 Rep fiom *, 2, p2 Round 23: P2,, * (kl, p1, KS, pl) x2. Rep from *, 2, p2 Round 24: P2, kl, * (kl. Rep from *,K2, p2 Round 25: P2, KI, "(pl pl, kl, p Round 26: P2,kI, (pl,K7) x2. Rep from, pl. kl. 2. Round 27: P2, k Rep from *, 2, Round 28: P2, 1, * (kl, p1,k5, pl) x2. Rep from *, 2 p2 Round 29: P2,k1,* k2 (p1, 3) x3, pl, Rep from *,K2, p2 Round 30: P2, KI,” 2, (pl, k3) x3, pl. Rep from *, K2, p2 Round 31: P2,k1," 3, pl, kl, pl. kS, pls pl, k2. Rep from *, 12, p2 Round 32: P2, kl,” 3, pls kl, pl. kS, pls pl, K2. Rep from * k2,p2. ILKS, pl) x2. 7) x2. Rep from, .* (Kl, pS, pl) x2.a stitch in time | HEIRLOOM KNITTING SKILLS 16 4 220 :18 16 14 12:10 8 6 4 2 Vicar of Morwenstow Round 11: P2, kf, pi kf, p2 Round 22: K24 Round 1:24 Round 12: K24, Round 23: K4 pA k8, pk Round 2: Round 15: P2, Kf, pi 8, p2 Round 24: K24, Round 3:P2, 48, pl kB, p2. Round 14; K24 Round 25: K4, pl k8, pb. Round 4: K24 Round 15: P24 Round 26: K24 Round 5: P28, pl kB 2 Round 16: K24 . Round 27:K4, pl kB, pl kd, Round 6: K24, Round 17: K4, pk, pi Round 28: K24 Round 7:P2, 8, pl kB, p2. Round 18: K24, Round 8: 24, Round 19: K, pk, pi, Round 9: P2, KB, pd k8, p2 Round 20:K24, Round 10: K24. Round 21: Ks pA, kB, ks. John Northcott cee |aa wile ats Muliple of Round 1: P6,*p6, Rep from *p6 SOs amas o Round 2: K6, "k6 Rep fom k6 ema E BEN el Round 3: K6,*k6 Rep fom" k6 Round 5: P6,*p6, Rep from * p& Round 6 K6, k6. Rep from k6 sce|amaale ao Round 7: K6,*k6 Rep fom * 6 Seclemaae aa Round 8: K6, k6, Rep from * k6. Round 9: P6, * p6. Rep from *, pb Round 10: K6,"k6. Rep from *,k6 Round 11: P33," 3.13. Rep from *,p3. 3. Round 12; K6,*k6. Rep from, k6, ‘Round 13: P3,k3," p3,k3. Rep from *,p3,k3. Round 14: K6," k6. Rep from * k6 Round 15: P3, 3, * p3,13. Rep from Round 16: K6," k6. Rep from, k6 Round 17: P3,3,* p3.K3. Rep from *,p3,k3. Round 18: K6," k6. Rep from" k6 p3A3. Round 19: P3,13,* p3, 43. Rep from’, p3,k3. 18 16 14 Round 20: K6," k6. Rep from * 6, Round 21; P3,3," p3.43. Rep from *,p3, 13. Round 22: K6," k6. Rep from k6. 12 10 8textured stitches Robin Hood's Bay on Round 1: P2,k11, + Round 2:P2, 11, fe +019 Round 3:P2, 5, pl. oe : Round 4:P2, 5, pl, kS ome ms 17 Round 5: P2,k4 I, pl kd. SaSeURBEels Round 6: P2,k4 pI, pls kd, Tanconeagae © Round 7: P2,43, (pl, kt) x2, p13 SSPE lone! Round 8: P2,43, (pi, kt) x2, phd SRS nis gas Round 9: P2, k2, (pl, kl) x 3, pl, k2. SRRRRR Se See 11 Round 10: P2,k2, (pl, k1) x3, pl 2 Sauns a8 Round 11:P2, (kl pl) x5, kl coaeaneanan’ Round 12:P2, (kl, pl) x5, kl. Round 13: P2, k2, (pl, kl) x3, pl, k2 Round 14: P2, k2, (pl, kl) x3, pl, k2. Round 15: P2,k3, (pl, kl) x2, pl, 3 Round 16: P2,k3, (pI, kl) x2, pl. 13. Round 17: P2,k4, pl. kl, pls kd Round 18: P2,k4, pI kl, pls ke Round 19: P2, kS, pl, k. Round 20: P2,kS, pl. KS. Round 21: P2, ki Round 22: P2, KI, 12510 8 eC ee) Zigzag Round I: (P1,k1) x2,pl.k10, pl Round 2: PI, 12, pl kl, pl, pl Round 3: PI, 13, pl, pl k8 pl Round 4: PI, kt, pl, kl pl k7 pl Roung’: PI, KS, pl, kl, pl K6 pl. Round: P1, k6, pl, kl, pl. k5, pl. Round 7:P,K7 pl, kl pls kl Round 8: PY, k8, pl, kl pK, pl. Round 9: PI, k9, pl, kl pl, Kp Round 10: PI, k10, (pI, k1) x2, pl. Round 11: P1,A9, pl. pl, 42, pl. Round 12: PI k8 pI, ki, pl, 13, pl. Round 13: P1,k7, pk, pls kd, pl. Round 14: PI,k6 pt kl, plsk5, pl Round 15:PI,kS pl. kl, pIsk6, pl . amie +35 Round 16: PI, ks pl, Kl, pl, K7, pl. : me a” Round 17: PI, K3, pls kl, pl k8, pl. : sia +15 Round 18: PI, K2, pl. Kl, pl k9, pl. asm : Round 19: (PI, kl) x2, pl, K10, pl. Suenacn 233 Round 20: PI, k2, pl. kl. pl k9, pl. eho a6 fu Round21:PI,K3, pl, kl, plsk8, pl sais = Round 22: PI, ké pk, pl. K7, pl. Round 30: PI, kp kl, pl, A3, pl. nme ae +9 Round 23; PI,K5, pl, plsk6, pl. Round 31: PI, K7, pl kl pls kd, pl. a a e Round 24P1,A6, pl, kl, p15, pl Round 52: PI, k6 pl, kl pl. AS, pl : ome : Round 25-P1,A7, pl. kl, pl. kp. Round 33: 1,15, pl, kl, pl.A6, pl. : oe +5 Round 26-PI,k8, pl, kl, p1.43, pl. Round 34: PI kp kl, pl. 7, pl. s SeSReae Round 27:P1,k9, pl, kl, pl, 2, pl. Round 35: PI, 13, pl, kl, plA8, pl. 2 oni Round 28 1, k10, (pl, k)2,pI Round 36: PI, 2, pl, kl. pl.59, pl. x Sol Round 29 P1,k9, pls kl. pls 42, pl. 41210 8 6 4 2a Stitch in time | HEIRLOOM KNITTING SKILLS 18 ‘Tanker’s Pattern Round 1: K1,p3,k, p2, Kl. Round 2: KI, p2, i, pl, 13, p2, kl. Round 3: KI, p2, 2, pl, k2, p2, Kl Round 4: KI, p2,k3, pl, Kl, p2, kl Round 5: KI, p3,k3, p3. Round 6:K1, p2, i, pl. 13, p2, kl. Round 7: KI, p2,k2, pl, k2, 2 kl. Round 8:K1, p2,k3, pl. kl, p2, kl. Round 9: KI, p3,k3, p3, Kl. Round 10: KI, p2, kl, pl. k3,p2, kl Round 11: K1, p2,K2, pl, k2,p2, kl. Round 12: K1, p23, pl, kl, p2, kl Round 13: KI, p2, k4,p3, am 15 ae 11 9 am7 ams am > oon 2 Tarr Bishop Round I: K6,(p2,k12) x2, p2,K6 Round 2:K6, (p2,k12) x2, p2, kf. Round 3: Ki, p2, 2, p2, 9, pl, 2, pt 9, p2,K2,p2, kt. Round 4: Ka, p2, 2, p2, R, pl, kp 8, p2,K2,p2, kd Round 5: (K2, p2) x35, pl, R6 p15. (p2.ka) x3. Round 6: (K2,p2)x3,k4 pl, k8 pl, ks, (p2.ka) x3. Rouind 7: (P2, 2) x3p2,k pl. 10, pl kl, (p2,ka) x3,p2 Round 8 (P2, 2) x3,p3,kI2,p3,(K2,p2) 3, Round 9 (K2,p2) x3, 8, p2,48, (2,12) x3. Round 10 (K2, p2) 3K, p2,A8, (p2,K2) x3. Round 11: 4, 2,2, p2, kp. Kp 9, 2,2, p2.kd Round 12:K4, p22, p2, k8, pl kd, pl, kB, 2,2, p2 kd Round 13+K4, pl, kl, p2,k9, pl, k6, pl, k9, p2k6. Round 14: K6, 2, (K8, pl) x2, K8,p2,k6. Round 15:K15, pl, k10, pl, K15, Round 16:K14, pl, k12, pl, 14 Round 17: K6 (2.12) x2, p2, 6. Round 18: K6, (p2.k12) x2, p2, 6. Round 19: K4 p?, K2, 2.9, pl, k2, pl, k9, p2.K2, pk Round 20: K4, 2,2, p2,k8, pl, kd pl kB, p2.K2, pk. Round 21: (K2, p2)3,K5, ps6, pls Is, (p2.k2)x3, Round 22:(K2, p2) x3, kA, pl, k8, pk oe Su 2 woo 26 4 R'm 6 nw i's 42 (p2k2) x3. Round 23: (P2,k2) x3, p2, kl, pl, k10, pl, K1,(p2,K2) x3, 2 Round 24: (P2,k2) x3, p3,k12,p3, (K2,p2) x3. Round 25: (K2,p2) x3, k,p2, k8, (p2.k2) x3. Round 26: (K2,p2) x3, K8, p2,k8, (p2,k2)x3. Round 27: K4, p2, 2, p2,k9, p12. pl. 9, p2,K2, p2, Round 28: K4 p2,2,p2, 8, pl, 4, pt, k8, 1p2K2,p2,ké. Round 29: K6,p2.k9, pl, k6, pls, p2s k6. Round 30: K6, 2, (K8, pl) x2, K8, p2,K6. Round 31: K1S, pl, k10, pl KI. Round 32: K14, pl, k12, pl, klHerringbone Round 1: P2,* 8. Rep fom 8 Round 2:P2,* 8. Rep fom 8 Round 3: P2,* p, Rep from Round 4:K2,*k8. Rep from ,k8 Round 5: P2,” kB. Rep fom 8 Round 6: K2,*k6, p2 Rep from" k6p2 Round 7:K2,*5,p2sK1. Rep fom kS,p2,k1 Round 8:K2, "kd p2, 2. Rep fom * kd p2.k2. Round 9:K2,*K3,p2,A3. Rep ftom ,13,p2,K3 Round 10: K2, "12, p2, kt Rep from *, k2, p2, k4. Round 11:K2," Kl, p2K5. Rep fom *, a, pas. 164210 8 6 4 Round 12: K2, "2, k6.Rep from *p2,k6. Round 13: K1, pl," pl, k6, pl. Rep from", pl, k6,pl. Round 14: P2, *k6,p2. Rep from *, k6 p2 Round 15: P2,* p8. Rep from *,p8. Round 16: P2,* pS. Rep from, p8. Round 17: P2,*k6,p2, Rep from * k6 p2. Round 18: K1, pl," pl, k6, pl. Rep feo pl. K6, pl Round 19: K2, "2, 6. Rep from *,p2,k6. Round 20: K2, "kl, p2,S. Rep from *, 1, p2,k5. Round 21: K2,"k2, p2, ke, Rep fron 2, p2, ks. textured stitches Round 22: K2,"K3, p23. Rep from *, 3, p23. Round 23: K2, ke, p2, k2. Rep from * 4, p2,K2. Round 24: K2, KS, p2, kl. Rep from , pk, Round 25: K2, *k6, p2: Rep from*,k6, 2. Round 26: K2,*K8, Rep from * k8. Round 27: K2,*k8. Rep from * k8. Round 28: P2," p8. Rep from *,p8. Round 29: P2," 8. Rep from *,p8. Round 30: P2," 8. Rep from *,p8. Northwest Scotland Round I: PI, ka p2, ks, pl Round 2: (P2, kd) x2. Round 3: KI, p2, kA, p2, 3. Round 4: K2, p24, p2, 2 Round 5: K3, p2, kA, p2, Round 6: (K4, p2) x2. 12 10 Scottish Half Flag Round 1: KI, ps. Round 2: K2, pa Round 3:K3; p3 Round 4 Ké p2. Round 5:5, pl Round 6: KI, ps. Round 7: K2 p4 Round 8: K3, 3. Round 9:K4,p2 Round 10:5, pl. Round 11:1, pS. Round 12:K2, pd Round 13:K3,p3. Round 14: K4,p2 Round 15:KS, pl . 15 os 13 Sseasim 11 ag 9 lt 7 wee 5 awe 1 Cun AT ap 19a stitch in time | HEIRLOOM KNITTING SKILLS Eriksay Hearts Round 1: K1,p2, 13, p2, kl Round 2:K1,p2,k6, pl, k6,p2, kl Round 3: KI, p2, 6 pl, K6p2 Round 4: KI p2,kS, pl, kl, pl, k,p2 kl. Round 5: KI, p2,k5, pt, kl, pt, kS,p2, kl Round 6: Kl, p2, kc, (pl, kl) x2 pl, ke p2 kl Round 7: Kl, p2 ke, (pl kl) x2 pl, ks p2 kl Round 8: Kl, p2,k3, (pl kl) 3,pl KS p2 kl Round 9: KI, p2,k3, (pl kl) 3, pl K3p2 Kl Round 10: K1,p2,k2, pl, Kl, pl K3, pls kl, pt. K2,p2, kt Round 11: 1, p2,k2, pl, kl, pl k3,pl kl, pl,k2, p2, kl Round 12: 1, 2, (KI, pl) x25, (pl) x2,p2KL. Round 13: K1, p2, (K1, pl) x2,k5, (pl, kl) x2, p2, kl. Round 14: KI, p2,k2, pl, k7, pl, 42 p2, kl. Round 15: K1, p2,k2, pl k7, p1. 42, p2, kl. Round 16: K1, p2,k13, p2,Kl oe 15 B u 18 16 14 12 10 8 Boddam Round 1: P2 (K2, pl) x3,k6 Rou 2: P2 (2, pl) x3, k6. Round 3: P2,13, (pl, k2) x2, pl ks. Rournd 4; P2, 3, (pI, k2) x2, pl. Round 5: P2, ki, (Pl, k2) x2, pls kd, Round 6: P2, 4, (pl, k2) x2, pl, kt Round 7: P25, (pl, 2) x2, pl k. Round 8:P2,K5, (pl, k2) x2, pk. Round 9: P2,6, (pl k2) x3. Round 10: P2,K6, (p12) x3. Round 11: P2,K7, (pl k2) x2, pls Kl Round 12: P2, 7, (pl, k2) x2, pls kl Round 13: P2,k6, pl, k2 p2. kl, pl k2 Round 14: P2,k6, (pl. 42) x3 Round 15: P2,kS, (pl, k2) x2, pl A. Round 16:2, 5, (pls k2) x2, p1.I3, Round 17: P2,k4 (plsk2) x2, pls kd Round 18: P2,k4 (p12) x2 pls Round 19:P2, 3, (pl, k2) x2, pls. Round 20: P2, 3, (pl, k2) x2, pl. kS. Round 21: P2, (K2 pl) x3,K6. Married Fishermen Row: (P1, kt) 2, p13, pl, k10 Row 2:P9 kl, 3, Kl, p213. Row 3:PI kl (plsK3)x2 pls k8. Row 4:P7, kl, p3skl, p13 Row 5: PI, Ll, pls KS, pl 3, pls 6. Row 6:P5, kl, pk, p6.13, Row7: PI, LI, pl, k7. pl, Row 8: (P3, kl) x2, p8, k3. Row9:PI,klspl, 13, pls k3, pl. 12 Row 10:Piskis 3, kl, p10,63. Row 11: Pk pl, 9. pi. k3, pl. 12 Row 12:(P3,k1)x2,p8.13. Row 13:PI, ki, pl, 17, pls k3, pl. kd Row 14:P5, kl, p3. Kl, p6.K3. Row 15:PI, kl, pl.K5,plsk3, pk. Row 16:P7, kl, p3. Kl, pl ks pls ka 20 Round 22: P2, (k2, pl) x3,K6. Round 23: P2,k1,(p1,k2) x2, pI, k7. Round 24: P2,k1, (pl, k2) x2, pl, k7. Row 17: PI, kl, (p1,K3)x2, pls ka Row 18:P9, kl, p3.kl.p2,13 18 16 4 R 10 16 14 12 10 8 6 18 16 14 12 10 8 6 4 2Diamond Border Round 1: P6,k6, Round 2: P6,k6. Round 3: P5, kl, pl. ks. Round 4: P5, kl, pl, ks. Round 5: Pa, (kl, pl) x 2k Round 6: Pa, (ke pl) x 2k Round :P3, (kl. pt) x3, 13. Round 8: P3, (kL pl) x3,3. Round 9: P2, (Kl, pl) x4, k2 Round 10: P2, (kl, pl) «4,12 Round 11: (PI, kt} x6. Round 12: (PI, ki) x6. Round 13:P2, (k1, pl) «4,42 Round 14: P2, (kl, pl) x4,12. Round 15:P3, (kl, pl) x3.43, Round 16: P3, (kl, pl) x3.53, Round 17:P4, (kl pl) x2,K4 Round 18: P4, (Kp) x2,K4 Round 19:P5, kl, pl ks. Round 20 PS, I, pl, S. textured stitches 1210 8 6 Mallaig Diamond Round 1: P1, k1, (pl, k6) x 2. Round 2 P3,k6 pk. Round 3: (PI, kl, pl, k5) x 2, Round 4P3,k5, pl. kl, pl ks. Round PI, kl, pl, kd, (pl kl) x2, pl, ks Round 6: P3,k4, (pl. k1) x2, pl. ké Round 7: Ik, pl, 3, (pl. kl) x2, pl. kl, pis Round 8: P3,k3, (pI, kl) x3. pLI3. Round : PI, kl, pl, k2,pl.kl, pls k3, ph, ki, puck, Round 10: P3,K2,ptskl, pl K3, pl, Kl pl 2 Round 11:(P1,k1)x3, pt, S, (pl, kl) x2. Round 12: P3, (kl, pl) x 2,k5, (p1, kl) x2. Round 13:P1 kl, pl, K2, pl, Kl,pi.k3,pl, ka pki2, Round 4; P3,42, pl, kl, pl K3, pl, Kl, pls 2 Round 15: Pl, kl, pls k3, (pl, kl) x2. kl pha. Round 16: P3,k3, (pI, kl) x3.p1. 13. Round 17: PI, kl, pl, k4 (p1, 1) x2, pl, ké Round 18: P3,k4, (pl, kl) x2, pl. k4 16 1412 10 8 6 4 2 Round 19: (PI, kl, pl, kS) x2. Round 20: P3,k5,p1, kl, plskS. St Andrew’s Cross Row KI, pl kl, pk, plskL Row 2: PI, kl, pl K9,pl-El, pl Row 3: (PJ, kl) x2,p7, (kl, pl) x2. Row de (KI, pl) 2,7, (pls kl) x2. Row 5:P2,kl,plsklsp5,kl. pls Kl. p2- Row 6:K2, pl, kl, plsk5,pl, kl, pl, 12 Row7 (P3 kl. plskl) x2. 3. Row 8: (K3, pl, Ell) x2.13. Row 9: Pa, (kl, pl) 3k], pt Row 10:K (pI, kl) x3, pl. ks. Row 11:5, (kl, pl)x2,Kl. pS. Row 12:5, (pl, kl) x2, pL KS. Row 13:P6 kl, pl, kl. p6- Row 14: K6, pl, KL. pl, k6. Row 15:PS, (kp!) x2, kl pS. Row 16: KS, (pl. k1) x2. pl. KS. Row 17: P4, (Kl, pl) x3,kl pt 3 K4, (pl, kl) x3, lk 3 Kl, pl, kl) x2, Row 20: (K3, pl, kl, pl) «2,13, Row 21:P2,kl, pls kl,p5.Kl, pl kl p2 Row 22: K2, pl, kl. pl KS, pl, KI. pl, k2 Row 23: (PI, kl) x2, p7, (kl, pl) x2. Row 24: (KI, pl) x2,K7, (pI, kl) x2. Row 25: KI, pl, kl. p9, pl. El. Row 26: PI, kl, p1,B9, pl, kL, pLI2. eMa stitch in time | HEIRLOOM KNITTING SKILLS 22 31 Anchor 30 Pa Row I:KIs. Row 2: DIS. a cd Row 3:K7, pl, k7. 26 Row 4: 76,13, py cd Row 5:5, (pl. kl) x2, pl. ks ae : 2B Row 6 Pa kl pl, 3, pK, pa 2 : Row 7: K3, (pl, kl) x4, pl, k3. a a Row 8: P2, kl, pl, (kl, p2) x2, kl, pl, kl, p2. 4 fl 9 Row 9: (Kl pl) x2, (K3,pl)x2,kl, pl KL. 18 seas Row 10:P2, kl, pl, kl p2 kl, pA, Kp eae a6 17 Row 11:K1,pl,k5,plskl, plsk3,plskl. 46 sea 6 Row 12: P6,k2, p7 4 Row 13: K7, pl, k7. 3B Row 14: P7, 12, p6 2a Bei Row 15:5, pl kl pl K7 10 . Row 16:7, kl, p2, kl pa a weg Row 17: (K3,pl) 2,7. Row 25:K7, pl. 7. * aoeeen Row 18:7, kl, p2, lp Row 26: P6, kl, pl, kl p6. . Row 19:5, pl kl, pl k7 Row 27:KS, pl, k3, pl AS. : 5 Row 20: P7, 2, p6 Row 28: P6 kl. pl kl, ps. 5 Row 21:7, pl, 7 Row 29: K7, pl, K7 2 Row 22:7, kl, p7. Row 30: PIS, i Row 23:K7, p17. Row 31: KIS, 412108 6 4 2 Row 24: PS 7, pd ‘Tree of Life 0 sa or Row 1: K7, pl, kl. pl, K7 os 2» Row 2: P6,K2, pl, K2, p6 28 sauces a Row 3: KS, p2,K3,p2sK5. % some Row 4: Ps, k2, pS, 2, pi ee 25 Row 5: K3,p2, 2, pl. kl, pl. k2, p2, 3. & oe : 2 Row 6 (P2,k2) x2, pl (K2,p2) x2. 2 feet Row 7: KI, p2,k2, p2,K3, p2,K2, p2. kL pa Row 8:K2,p2, K2 5, k2, p2,k2 Row 9: Pi, k2, p2,k2, pl kl, pk 18 72.2, pl 6 ‘Row 10: (P2,k2) x2, pl, (K2, p2) x2. Row 11:K1, p2,K2 2,43, p2,k2 2 kl M4 Row 12:PI kl, p2, 12, p5,42, 2. kl, pl 2 Row 13:K3,p2,k2,pl, kl, pl, 2,213. Row 14: (P2,k2) x2, pl (K2,p2) x2. 0G Row 15:K2, pl, k2,p2,13,p2,k2, p12. 8 Row 16:P4K2,p5,12, pa. - Row 17: K3,p2.k2, pl. kl, pls k2, p2.K3. Row 18:P3, ki, 2,42, pl 2,2, El, p3. Row 25:K7, pl, kL pl K7. 4 Row 19:K5, p2, 3, p2K5 Row 26: P6,k2, pl, k2, p a Row 20: P4, 2, p5, 2, pa Row 27:K6, pl, 3, plsk6 am 1 Row 21:K4, pl, K2 pl, El, pls k2, pl, kd. Row 28: PI. 41210 8 6 4 2 Row 22: P6,K2, pl, K2, Row 29:K7, pl. kl, pl, K7. Rove 25: K5,p2.K3,p2, 5. Row 30:P7, kl, pl kl, p7 Row 24: (D5, kl) x2, 5. Row 31:KI7.textured stitches 42 18 161412: 8 6 4 2 Humber Star Round 13:K2, (pI, k1) x10, plsk2. Round 26: K2, (pI, kl) x 10, pl. k2. Round I: K12, pl, kl2. Round 14: K2, (pl, kt) x10, pl, 42. Round 27: (KI, pl) x12, kL Round2: K12, pl, k12. Round 15:3, (pl, k1) x9, pl k3. Round 28 (KI, pl) x12. Round 3: KI, pl kl, pl, kU Round 16:K3, (pl, kl) x9, pl k3. Round 29: KB, (pl, kl) x4, pl, 8. Round: KI, pl kl, pl kl Round 17: Ka, (pl, kl) x8, pl ke Round 30: KB, (pl, 1) x4.p1Lk8. Round’: K10, (pl, kl) x2, pl, ko Round 18:K4, (pl, k1) x8, pl, ki. Round 31:K9, (pl, k1) x3. pLk9. Round 6: K10, (pl, kt) x2, pl, kl. Round 19: KS, (pl, k1) x7, p1k5. Round 32: K9, (pl. k1) x3. pL9. Round 7: K9, (pl, k1) x3, pl 9. Round 20: KS, (pl, k1) x7, pl, Is. Round 33:K10, (pi, kl) x2, 1 k10, Round 8: K9, (pl, k1) x2, pl, RIL Round 21: Ka, (pl, kl) x8, pl, ke Round 34: K10, (pl, kl) x2, pl, KIO Roung9:K8, (pl, kl) x4, pl kB Round 22: Ka, (pl, kl) x8, pl kt. Round 35: Kil, pl. kl, pl, KIL Round 10:8, (pl, kl) x4, pl, k8. Round 23: K3, (pl, kl) x9, pl, k3. Round 36:K11, pls kl, pl, RIL Round 11: (Kl, pl) x 12,Kt Round 24 K3, (pl, kl) x9, pl, 13. Round 37:KI2, pl. 12. Round 12: (Kl, pl) x12, kl Round 25: K2, (pl, kl) x10, p1 12 Round 38:KI2, pl, k12. King Charles Brocade Round 1: P20. Round 2: P20. Round 3:K20. Round 4: P20 Round 5: P20 Round 6: K20. Round 7: (K9, pl) x2. Round 8: (P17, pl, kl) x2. anee aa uy Round9:K1, pl, k5, pl, K3, pl kS, pl, K2 as saas6 “9 Round 10: K2,pl.43, p.k5,(pl,k3)x2. Round 17: (K9, pl) x2. : 2 a; Round 11: K3,pl. kl, pK7,pl,Kl,pl.k4. Round 18: K20 f Round 12: Ké pl 9, pl, k. Round 19: P20, s Round 13:K3,pl,kl,pl,K7,pl,Kl,pl.ki. Round 20: P20. Serer Saaeaaa 5 Round 14:K2, pl.43, pl,k5,(pl.43)x2.__ Round 21: K20. Ica sESSeeReeEe S1 Round 15:K1, pl, k5,pl,k3,p1,kS,pl.k2. Round 22: P20. dois 16 1412108 6 32 Round 16: (P1,k7, pl. k1) x2. Round 23: P20 23EFriksay Tote Bag textured stitches ‘his design is based on the wonderfully intricate patterns found on an Eriksay gansey, and include Eriksay hearts and the tree of life (see pages 20 and 22). While these garments tend to be patterned all over, specific, individual, motifs are usually centered on the front and back. These patterns have been passed down from mother to daughter and knitted for many years. Traditionally they would often feature a tree of life and, probably, zigzags or a line of diamonds. Chart 2 Chart 1 Size “The bag measures approximately 83x 13¥in (22. 35em) Materials 4x 10 (50g) balls pink DK yarn Size 6 imm) 16in (40cm). 2 wooden bag handles Stich holders cular needle Gauge Not importane for this project ‘The bag is worked inthe round from the Dotcom upwards Cast on 128 ss and join inthe round, being ‘careful not to ewise sts Pusl 1 round, chen work Chart 1, repeating ie four times around. Aer 40 rounds have been worked, ‘work Chart 2, increasing 3 sts evenly acros last round, Work Chare 3 for 40 rounds, Work garter stitch for 5 rounds, PLACE STRAPS FOR HANDLES Bind of 14 ss, p10 (11 sts on needle), and work Chare 4 until sap measures approximately 44n (12cm). Purl 1 row and leave ss on holder Rejoin yarn, bind off 19 sts,p10 (11 stson. needle) and work other strap to match, Leave on holder Bind off 26 sr, FINISHING Slip straps through handles, bind off sts of second strap with next 11 sts of bag, bind off 19 sts, bind off ses of frst sexap with next 11 ss of bag, Bind off em ss. Sev borcom (cast-on) edges of bag togethera Stitch in time | HEIRLOOM KNITTING SKILLS Hot Water Bottle Cover ‘The pattern on this hot water bottle cover is taken directly from an old Sheringham gansey, and is known as Tarr Bishop (see page 18). These tessellated patterns were most popular in Norfolk, England, while other areas favored cables, diamonds, or flags. The patterris on a basic working gansey were worked on the yoke and I have chosen to place this design on the top section of the cover to mimic this style. Size The cover measures approximately 8% x 12in (21.5 x30em) with 2%in (Gem) for ribbed neckband Materials 3 1%or (50g) balls damson DK yarn Size 6 nm) ght needles 3 buttons approximately in (25cm) damerer ines Gauge Not important for this project FRONT AND TOP HALF OF BACK Cast on 46 ts and work 4in (10m) st ending with RS facing. Ridge: Row LP. Row2:K. Row 3:2. Row 4: K. Rep these 4 rows once more Next row, k2, work Row 1 of char, 2. Continue following chare with 2st ateach cnd unl work measures approximately 10in (25cm) fom beg, ending atthe end ofa 16th Make three burtonholes a follows: Work 6st * Bind off 3 ss for burconhole Work 13 st, Repeat from * once more. Bind off 3 sts fr last buttonhole. Work 5s, ‘Work 4 more rows rib, casting on 3s cover those bound off on Ist ofthese rows Bind offal stitches in nib BOTTOM HALF OF BACK Dick up 46 ss from cast-on row and work 4in (10em) see (or 32nd row Work 8 rows k2 Repeat the 8 ridge ows. Bind off 12 ss at beg next 2 rows and work Sin (12Sem) in k2,p2 rib on em sts aston 12 sts a beg next 2 rows and work in p2rib, Bind off FINISHING Fold botcom half up so that burtonhole band overlaps button band, Sew side seams. Sew on buttons. BELOW: The shree buttons icon a narrow brand oft 2, purl 2b sest for 8in (20cm). ‘Work 3 rows k2, p2 ib, ALTERNATIVE STITCHES Choose pattern from another area of ‘the country, such asthe Humber star on ‘page 23 or re ofifeon page 22, and add ‘married fishermen on page 20 at cach side to make up the numberof itches to 42. Wark the patern allover the cover ifyou like, and no juston the top as Lav. 26Chapter Two © WISTED STITCHES Once the knit and purl stitches that originated in the late-16th century had been mastered, there was no end to the exciting textures that could be created. In some areas, skilled knitters took the practice a step further. 7 Instead of being simply knitted and purled in different combinations, textures began to emerge featuring stitches that had been worked out of sequence and, in some cases, slipped altogether. The resulting fabrics displayed repeating raised patterns of a delicate nature, including ribbons, lattices, cables, and columns.a Stitch in time 30 HEIRLOOM KNITTING SKILLS Twist and Slip Influenced by the delicate embroidery of Alpine communities, twisted stitches originated in central Europe and, with a history of over 200 years, continue to play an integral role in traditional costumes of Switzerland, northern Austria and in the southern German state of Bavaria. Originally, che most common use for twisted stivches was that of decorating socks in Germany and Austria, particularly in the Alpine regions. The decorations were known as “clocks.” No- cone knows precisely how chis term came about, but its thought thar it could be a derivation of the word clobke meaning ell” as some of the patterns could be said ¢o resemble a bell shape. Stitch Heritage The designs ranged from simple columns of crossed stitches to elaborate patterns based on embroidery designs. Many of them have names that evoke the simple rural life ofthe communities that knitted them—honeycomb, butterfly, ribbed laf, eye of partridge, and gullwing, Typically such designs were placed on both sides ‘ofasock just above the ankle. Because of the positon of these designs the crossed stitches often incorporated decreasings that would shape the ankle. Similar twisted on the close stitch pattems were plat fixing jackets of Bavaria’ regional costume, which were shaped ac the waist and worn by the women with dimdl skirts. Many of them had panels of ewisted stiches at each side ofthe front opening, and asimila, butlanger motifn the center ofthe back. Men’ socks, in particular those intended for wearing with lederhosen, were often «embellished using similar techniques. Developments Elsewhere Some ofthe designs for Alpine twisted stitches are similar to those found in CCltcknorwork, with the stitches always ‘worked through the back in order to make LEFT: Two women in traditional Alpine ‘costume, rich with the embroidery that influenced many ofthe twistedthem Sand out. The less elaborate ofthese designs are similar to those found in Aran knitting (sce Cable Stitches, pages 64-67) —in face the earliest known Aran sweater is smade-xclusively from twisted and traveling stitches rather than the larger cables that wwe ae familiar with today. Similar designs to those ofthe Alpine socks ae also found in socks from Estonia, many of which have eolor-patterned tops as ell as ewisted stitch clocks. Krotasobkar, knitted socks associated with the Secesdal region of Norway sometimes had ewisted patterns that covered the entire leg, with the section above the ankle sometimes being made wider and more prominent. “Typical stitches included cables, ewists, and pleas: and while Scandinavia is particular known for colorwork (see pages 112-115) these socks would traditionally be dyed black for men bu left in their undyed white for women, A Continental Tradition In order to make a single ewisted stitch, instead ofinserting the needle from let to tight through the front strand, insert it fom right ro lefe through the strand at the back, before knitting it off the needle (On the return row, purl into the back by inserting the needle fom lf o right. In ‘Continental knitting the stitches twist automatically, because the way of working thats, by taking the yarn around the needle ina clockwise direction—causes the scitch co cur back on itself. these stiches are then knitted into the front on the knit side, chey will appear twisted. This effect can be seen to best effect in the Bavarian check stitch on page 41 True twisted stitches cross no more than two other sttches—in fact usually only one is erosed, The effects of twisting stitches in this way can be very striking Some examples travel aross the fabric and are usually worked on a pul background, while others stay in position but stand proud of the background, Pits of knit twisted stitches that stay in a vertical position are often worked by king 6wo ‘ofthem together and then knitting the firs stitch before slipping both stitches off the needle. Ths will lan che sticches tothe right. Fora lefslan, you ean knie the second stitch through the back loop then knie che first stitch through the front and slp chem both off the needle, Both of these methods are used in che pattern for twisted stitches LEFT: Modeled on the Norwegian Krotasokka, twisted stitches have been wed 19 create braided panel so the rons ofthis sock and fine cables running up the ides the Honeycomb House Slippers on pages 42-43. The fist par of stitches is ewisted to the right andthe nexe to the left.On the following right-side row these postions are swapped over, giving a small diamond shape that resembles a honeycomb. Stitches can also be ewisted on the purl sows by purling the second stitch and then the frst, before slipping them off together. slants the stitches tothe right on the 3 side ofthe piece. To slant them to the ct, you simply purl two stitches together through the back loop then pusl the ist through the front. ‘Traveling ewisted stitches are worked in the same way, bu often ona background of pprl stitches. The knit stitch passes over the top of the pur stitch that comes before it fora ight slant, or the one that comes after it fora left slant. Both ofthese movements can be seen in the tee off stitch on page 36, Individual stitches can be made to Sand ‘out more if they are knitted and purled into the back ofthe stitch on each row. You can try this with the feather stiech used in the Soft Cowl on pages 44-45, Twisted stitches of all eypes tend to show up best if they are worked in a smooth, light colored wool or corton yar.a stitch in time | HEIRLOOM KNITTING SKILLS Twisted Stitches ‘Tweed Stitch Maliple of 2 Row I: KI, slwyié Row2:P2, Row 3: Sl wyif Kl Row 4: P2. ‘Twisting stitches involves working stitches out of sequence, much in the same way that cables are made, but using two needles and not three. The result is a reasonably dense fabric, with a slightly raised texture. The stitches can be worked on knie stitches or purl stitches or a combination of both so that they slant either to the left or the right. Common twisted stitch patterns include a variety of latticework, cables, and ribs, as well as a number of popular motifs, such as butterflies and palms, the lantern and the tree of life. ‘Tweed Stitch Rib Maleiple of Row I: P3, sl wyif kl, sl wyié Row 2:P3, 13, Row 3: P3,ki sl wyif kl Row 4: P3, 13. Linen Stitch Mukeiple of 2 Row I: KI, slwyif Row 2: PI, sl wyib 32Woven Rib Maleiple of 2 Row 1: * K1, sl wyif; repeat from * ro end kl Row2:P, twisted stitches Row I: PIS, Row 2:K2,*s15, kl. Rep from * s5,k2 Row 3: PIS, Row 4: K4insert needle under strand and kknic next st, bringing stitch out under strand, Rep from * ending las rep, ké Row 5: PIS, Woven Check 16 Makiple of 12. 15 Row 1: K9, s13 wyif. 14 ra Row 2: P12. a Row 3: K9, sl3 wyif. me 11 Row 4: P12, 10 Row 5: KS, 31 wyif. 9 Row 6: PI2. 8 Row 7: K9, 3 wyif, Wy Row8:PI2. 6 Row 9: K9, a3 wy i 5 Row 10:PI2. ; Row 11: (K1, sl3 wyif) x 3. 2am Row 12: P12. es Fi Row 13: (KI, 13 wyif) x3. TOURS aECEe? Row 14: P12. Row 155{K1,s3 wyif) x3. Row 16:12. 2a Bat Stitch 1 Mulkiple of 3 4.2 Row I:K Row 2: Pl, (32 p-vise wyf) ring Stitch | mI 1 Malkiple of 6 plus 3. 6 hook middle = inser rm down through 5 5 strands and lift them onto In, purl the 5 4 a a - strands tog with ners - anauD Row 6:* K1, 13 wyif kl, s5,,s13 wyif Rep from *, ending k, s3 wyif kl Row 7: PIS, Row 8: KI, knext st under loose strand, kS. Rep from *, to last two sts, next st under loose strand, kl.a stitch in time 34 Butterfly Muleiple of 10. hook middle = insert en down chrough $ serandsand lif them onto, pur the 5 serandstog with nex s Row 1° K3,a15 wyif 2 Row 2: P10, Row 3:3, 15 wyi 2 Row 4 PIO, Row 5:3, 15 wy Row 6 P10 Row 7:K3,s5 wyif 2 Row 8: PIO. Row 9:K3,a15 wyif k2 Row 10: Pi, hook middle pS. HEIRLOOM KNITTING SKILLS 10 a Eye of Partridge Mulipl of Row 1: Ki, Row 2:P2. Row3:SU kl Rows: P2 v3 ue Little Cable Maliple of 6 Row I: K6, Row 2: P6, Row 3: PI, 1/1 RC, 1/1 LC. pl. Row 4: KI, p4, kl Row 5: K6 Row 6: PS. Row7: K6, Row 8: P6, Row9: 1/1 LC, p2, 1/1 RC. Row 10: P6, 10 pAT ON? Broken Lattice Multiple of 16. Row I (WS): P16. Row 2:* 1/1 LC, 2, 1/1 LC, 1/1 RC Rep from *, 1/1 LC, k2, 1/1 LC, 1/1 RC. Row 3: P16, Row 4: K1, 1/1 LC, k2,1/1 RC, kl. Rep from *,k1, 1/1 LC, k2, 1/1 RC, Kl Row 5: P16. Row 6:* 1/1 RC, 1/1 LC, 1/1 RC, 2. Rep from’, 1/1 RC, 1/1 LC, 1/1 RC, K2 Row 7: P16. Row 8:* K3,1/1LC,k2. Rep from *, 1/1 RC 12, 1/1 1C,13,twisted stitches Honeycomb Malle of 4, Row I: 1/1 RC, IL Row 2: Pa Row 3:1/1LG, 1/1 RC Row 4: Pa 4 aX XXYK1 42 Mock Cable Maleple of. Row 1 (WS): P3, 2. Row 2: P2,k3. Row 3: P3,k2. Row 4: P2, 1/2 RC, Palms Moliple of 12. skpk=l], kl pso, and knit again into stitch Row I: KI, KI, 1/1 RC, 1/1 LC,k7. Rep from kl Row 2: PIA. Row 3:KI,*1/1 RC, K2, 1/1 LC,E. Rep from *, kl. Row 4: PLA Row 5: K1,*k1, 1/1 RC, 1/1 LC,K7. Rep from *, kl. Row 6: PIA. Row7: K1,*2,skpk, k8. Rep from kl. Row 8: Pld. Row9:K14, 2 Row 10: Pl4 Row 15: K1,*K7, 1/1 RC, 1/1 LC, Kl OOK 1 Row II: KI,*K7,1/1 RG, 1/1 LC, Kl Rep from *, kl. Rep from’. kl. Row 16: PIs, Row 12: Pl4 Row 17: KI," k8,skpk, k2, Rep from * kl. Row 13: K1,*k6,1/1 RC, k2, 1/1 LC. Row 18: Pl. Rep from kl. Row 19:K14, Row 14: Pl4 Row 20: Pl4 20 18 16 4 AXYK 15 I B wrx ua stitch in time | HEIRLOOM KNITTING SKILLS 36 “V" Panel Malkiple of 12. Row 1 (WS):K2,p10,l2. Row 2: P2,k3, 1/1 RC, 1/1 LC 13, p2. Row 3:K2, p10, K2 Row 4: P2,k2, 1/1 RC, k2, 1/1 LC, k2p2 Row $:K2, p10,12 Row 6:P2,kl, 1/1 RC, k4, 1/1 LC, kl p2 Row 7:K2,p10,42. Row 8:2, 1/1 RC, k6, 1/1 LG, p2 rx r»xX A oe Ke Sa AXA 108 6 4 2 lee 4 12 Ribbon Molkiple of 32 Row 1:5, 1/1 RC,K7, 1/1 RC, VLLC\KT, W/LLG KS. Row 2:7, K7, po Kp? Row 3:4, 1/1 RC,L7, V1 RC, 2, VALC, K7, 1/1 LC. Row 4: (P6, 7) x 2, p6 Row $:K3, 1/1 RC,K7, 1/1 RC, ke, VLC, K7, 1/1 LC, 3. Row 6: PS, k7, p87, pS. Row 7:2, 1/1 RC,K7, 11 RC, K6, 1/1 LCK7, 1/1 Row 8:P4.47,p10.47, ph Row :K1, 1/1 RC,K7, 1/1 RC, 8, 1/1 LC,K7,V/1 LC Kt Row 10: P3,K7, 12,7, p3 Row 11:K2, 1/1 LC,K7, VLC, 16,1/1 RC,K7, ERC, k2 Row 12:4, k7,p10, 7. Row 13:K3,1/1LC,K7, V/1LC, kd, ULRC,K7, VRC KB. Row Ls PS, 7, p8 7, pS. Row 15: K4, 1/1 LG,K7, 1/1 LC, 42, URC, K7, V/A RC. Row 16: (P6,K7) x2, p6 : YR ae GR 4 22a eeee YK YK R a os a YK YK x »~x nx aX 6 »x< rx 2 ax r»x x XXYK rx nx 15 rt x 13 rx 11 YAK YA YK YK YA 32 30 28 26 24 22 20 18 16 14 12 10 8 6 4 2 ‘Tree of Life Multiple of 1. Row I (WS): K3, (p el, k1) x2, pe 3, Row 2: P2, 1/1 RPC, pl, k tbl pl V/A LPC, 92. Row 3: (K2, p tbl) x3,k2. Row 4:1, 1/1 RPC, p2,k bl p2, V/ILPC, ph Row 5: K1,p tbl, k2 (p tl) x3, 42, pel, k1 Row 6: P3, 1/1 RPC, k tbl, 1/1 LPC, p3. 2 eXNOXKE EStwisted stitches Spiral Columns BED MOKEae exe 4 Maleple of 10, 3 oe Row I (WS): K2,p6,"k2, p62. Rep from * LLANE YXYAYK Row 2: P2,(1/1 RC) x3, p2. Rep from * ra Ta Row 3: K2, p6,"2,p6,k2 Rep from * Cee ee Row 4:*P2,Kl, (1/1 RC) x2,K1, p2. Gullwing “TRO Malepleof6 for the eble, and pusl sin 22am berween, ae uM Row 1: PI, 2, (sl) x2,42, pl Cee Row 2: KI, p2, (al yf) 2, p2,kl Row 3:PI, 1/2 RC, 1/2LC, pl Row 4: KI, p6 Kl Lat 15 Multiple of pa Row 1 (WS) P18, B Row 2:°KI, 1/1 LCR, 1/1 RC. 1 Poo Rep from’, 1/1 LC, ke, 1/1 RC, Kl »~YrK Row 3: PIS Row 4:* K2, 1/1 LC,K2, 1/1 RC, - YK Rep fom kl 1/1 LC,12, 1/1 RC,12. 7 eee Row 5: PIB Row 6:* K3, 1/1 LC, 1/1 RC, k2. YA XX | YK dX Rep from *, 12, 1/1, 1/1 R13. Row7: PIB saa Row 8:° Ké, 1/1 RC,k3. Rep from*, Rep from *,k1, 1/1 RC,K2, 1/1 LC, k2 18 16 14 12 108 6 4 2 13/1 RC, ks, Row 9: PIS, Row 10:*K3, 1/1 RC, 1/1 LC, k2 Rep from k2, 1/1 RC, 1/1 LC k3. Row 11: P18. Row 12:* K2, 1/1 RC, k2, 1/1 LC, kl. Row 13: P18. Row 14:* KI, 1/1 RC, k4, 1/1 LC. Rep from *, 1/1 RC, k4, 1/1 LC kl. Row 15: P18. Row 16:* 1/1 RC,k6. Rep from *, * T/L RC,k6, 1/1 RC. 37a stitch in time | HEIRLOOM KNITTING SKILLS Peanut Stitch oa + Makiple of 10 26 ae Row I: Pl, 1/1 RC, p7. a8 25 Se ee ie 4 ae Row 3:K4p6 iB os Row 4:K6, pt +221 Row 5:4, 6 20 § Row 6:K6,1/1 RC, 1/1 LC. “iad Row 7:PL, 1/1 RG.p7 meee 17 Row 8:K6,1/1 LC. 1/1 RC fete Row 9: Kp ag Row 10: K6, pé. ee Row 11 Ké,p6 VEX? Row 12: K6, 1/1 RC, 1/1 LC. Row 13:P1, 1/1 RC, p7. Row 14: K Row 15: P6,1/1 RC, p2. Row 16:K1, 1/1 LC, 1/1 RC. BS. Row 17: P5,k4, pl Row 18: KI, p4,b5. Row 19:P5,k4, pl Row 20: Kl, 1/1 RC, 1/1 LCs. Row 21: P6, 1/1 RC, p2 Row 22: KI, I/ILC, 1/1 RC,KS. Row 23: P5, kd pl. Row 24: K1, pk. Row 25: P5,k4, pl Row 26:K1, 1/1 RC, 1/1 LG.kS. Row 27:P6, 1/1 RC, Row 28: K10. Tigzags Maliple of Row | (WS):K8,pl,*K7, pl. Rep from, Row 2:PI," 1/1 LPC, p6. Rep from *, 1/1 LPC, 97 Row 3:K7. plakl,*k6,pl, kl Rep fom * Row 4:PI* pl 1/1 LPC, p5. Rep from, pl. V/ILPC, Row 5:K6, pl, k2,"k5, pl, K2-Rep fom *,kl Row 6 PI," p2, 1/1 LPC, p. Rep fom" p2, V/ILPC, ps. Row7: KS, pl, 43," kd, pl 3. Rep from kl Row 8: Pl," p3.1/1 LPC, 3. Rep fom * p3 VI LPC, pA Row 9:K4, pk, *13, pl, kd Rep fom 1 Row 10: PI, pd, 1/1 LPC, p2. Rep from *, pA, VILPC, ps. Row 11: K3,p1,KS,"K2, pl, kS.Rep from * kL. Row 12:P1,* p5,1/1 LPC, pl. Rep from", pS, UL LPC, p2. Row 13:K2,p1,6,* kl. pl. k6. Rep from "kl Row 14:1, p6, 1/1 LPC. Rep from * p6, VALPC, ph Row 15:K1, pl, k7," pl. 7. Rep from *, kl. Row 16: PI, *p7, kl s repeat from *, p7.Kl. pl Row 17:Kl, pl, k7, * pl k7. Rep from "kL. Row 18: Pl, *p6, 1/1 RPC. Rep from *,p6, 1/1 RPC, pl. Row 19: K2, pl k6,* kl, pls k6 Rep fom kl Row 20; PI," p5, 1/1 RPC, pl. Rep from *, 5. 1/1 RPC, p2. Row 21: K3, pl k5," 12 pl. 5. Rep fom * kl Row 22: Pl, p 1/1 RPC, p2. Rep from * 10 pA 1/1 RPC, p. Row 23: K4, pl, kd," I3, pl kd Rep from kl. Row 24: PI, *p3, 1/1 RPC, p3. Rep from * 3s 1/1 RPC, pi, Row 25: KS, pl k3,* kd pl 3. Rep fom * kL. Row 26: PI, *p2, 1/1 RPC, p4. Rep from *, p2 1/1 RPC, ps. Row 27: K6, pl k2,"kS, pl, k2. Rep from “kl Row 28: PI," pl, 1/1 RPC, ps. Rep from” pl, ARDC, p6, Row 29: K7, pl, kl, "k6, pl, kl. Rep from * kl Row 30:PI,* 1/1 RPC, pé. Rep from *, 1/1 RPC, p7, Row 31:K8, pl," k7, pl. Rep from kL. Row 32:P1, kl, p7. Rep from “kl, p8.‘The Lantern Multiple of22 Row I (WS): K10, p2, 10, Row 2:P9, 1/1 RC, 1/1 LC, p9, Row 3:K8, 1/1 LPC, p2, 1/1 RPC, k8, Row 4: P7, 1/1 RPC, 1/1 RG, 1/1 V/ALPC, p7, Row 5:K6, 1/1 LPC, kl, p4, kl, V/RPC, ké. Row 6: P5, 1/1 RPC, pl, 1/1 RPC, k2, V/1LPG, pl, 1/1 LPC, ps. Row7: KA, 1/1 LPC, k2, pl. kl, p2, kl, pl K2, L/L RPC, ka, Row 8: P3, 1/1 RPC, p2, 1/I RPC, pl, k2, pl, 1/1 LPC, p2, 1/1 LPC, p3, Row 9: (K3, pl) x2,K2,p2, k2, (pl. k3) x2, Row 10: (P2, 1/1 RPC) x2, p2, 2, (p2, 1/1 LPC) x2, p2 Row 11: K2, (p1,k3) x2, p2,(K3, pl) x2,k2 (1/1 RPC, p2) x2, 1/1 RPC, 2) x2, 1/1 LPC, ph RPC) x2, p2. Row 19: (K3,pl) x2, 2, p2, 2, (pl. k3) x2. Row 20:P3,1/1 LPC, p2, VILPC, plsk2, 57 pl. 1/1 RPC, p2, 1/1 RPC, p3. 3m Row 21: K4, 1/1 RPC, k2, pl kl, p2.k1, pl, 42, 1/1 LPC, kd twisted stitches Row 13:K1,(pl.k3)x2,pl,k2,(p1.43)x2, Row 22: PS, 1/1 LPC, pl, 1/1 LPC, k2 20418) 169122 pki pl, V/A RPC, pS. Row 14: Pl (kl, p3)x2.Kl,p2,(kl.p3)x2, Row 23: K6,1/1 RPC, kl, pk Kl.pl WALPC,k6 Row 15:K1,(pl-k3)x2,pl,k2,(pl.k3)x2, Row 24 P7, (1/1 LPC) x2, (1/1 RPC) pLeL Row 16:PI, (1/1 LPC,p2)x2,1/ILPC, Row 25: K8, 1/1 RPC, p2, 1/1 LPC, k8. (W/L RPC, p2) x2, 1/1 RPC, pt Row 26-P9, 1/1 LPC, 1/1 RPC, p. Row 17: K2,(p1sk3) x2, p2,(K3,p1)x2,k2. Row 27: K10,p2, IO. Row 1g; (P2, 1/1 LPC) x2,p2,k2,(p2,1/1 Row 28: P22, Ribbed Leaf al OND ROK Aes 28 Maldiple of 16. AXRKAK _ YAYAYK 26 Row AWS): PIG. 2s Row 2:K1, 1/1 LC, (1/1 RC) x2.43, 3 NON YAAK WEG) 22) Ws NOXOAK | YKYARK 22 Row 3: PIC. 21 Row 4s K2, 1/1 LC, (1/1 RC) x2, Kl 19 PANOX YAYANX 20 (UIUC) =2,1/1 RC re. Row 5:Pl 7 Row 6 KI, (1/1 LC) x2, /1 RC, 15 AYANX YAXAX 16 aoe a AIR 21 RSTO 14 Row 7: PIC. 3 Row 8: K2, (1/1 LC) x2, 1/1 RC.kl 1 YAYAYK XANAX 12 BG TRC) =? Kl YAYAYK — XOMON 10 Row 9: P16 9 a Row 10:1, (1/1 LC) x3,K3,(1/1 RC) x3. Row 20: K2, 1/1LC, (1/1 RC) x2. kl | YKYAXX YANOX 8 Row 11: P16. (ALC) x2, 1/1 RCE SeceeeEeeeeeeenn Row 12:K2,(1/1LC)x3,K1,(I/1 RC)x3,k1. Row 21: P16, s Row 13: P16. Row 22:K1, L/ILG, (1/1 RC)x2.43, 3 PAROXN YKYAK 4 Row I: KI, (1/1 LC)x3,43,(1/1RC)x3.—(1/1L.C)x3, SEGSSSEREGRBEEEE | Row 15: P16. Row 23: P16 1 Row 16: K2, (1/1 LC) x2,1/1 RC, kl Row24K2,(/IRC)x3KL(VILC)x3KL 16 14:12:10 8G W/ILC, (1/1 RC) x2, Row 25: P16 Row 17: P16 Row 26:KI, (1/1 RC) x3,33, (1/1 LC) x3. Row 18:K1, (1/1 LC) x2,1/1 RGIS, Row 27: P6. VLC, (1/1 RC) x2. Row 28: K2, (1/1 RC) x3,kl,(1/11LC) x3, Row 19: P16 39a Stitch in time | HEIRLOOM KNITTING SKILLS 40 8 Twilled Seripe 7a -,| Multiple of7 aK x 6 Row | (WS): PS, k2 5 oe oo Row2:K2, 1/1 LC, 13. . DS a 4 Row 3:25.12. + +4 Row 4: K3,1/1LC,k2 SE al Row 5:5, k2 , Row 6: K4, 1/1 LC, kl. 141210 8 6 42 Row 7:5, 2 Row 8:5, 1/1 LC. Seas SeRE EOS Bavarian Chevron Reece Maleple of 18 Row I (WS): K2, p tb, kl, p1,K3,p2, 3. pILkI, prbl,k2, Row 2: P2,kebl, (1/1 RC, p3)x2, 1/1 LC, kebl p2 Row 3: K2, (p24) x2, p2, k2 Row 4: P2, VRC, p3, 1/1 RC, 1/ILC, 3, V/ILC, p2. Row 5: K7, p4, k7. Row 6: P6, 1/1 RC, (kth) x2, 1/1 LC, p. Row 7 K6, pls kl, (p tb) x2, kl, pl, K6 Row 8: P5, 1/1 RC, pl, (k tbl) x2, pl V/ILC, ps. Row 9: KS, p2,Kl, (pth) x2, p2, 5. Row 10:P4, 1/1 RC, kebl, pl (ke) x2, pl. kebl, 1/1 LC, pé Row 11: K4, pl kl, pel, kl, (p eb) x2, kL pebl, kl, pl ke Row 12:3, 1/1 RC, pl, kebl pl (ke) x2, kebl, pl, 1/1 LC, p3 Row 13:K3,p2, kl, p bl, k4 pel, kl, p2, 83. Row 14: P2, 1/1 RC, kebl, pl, ktbl 1/1 RC, W/L LC, k bl, pl, tbh 1/1 LC, p2 Row 15:K2, pl. Kl, p bl, k1,p6, kl, p tbl kl, pls. Row 16: P2, (k tbl pl) x2, 1/1 RC k2, V/ALC, (pl kebl) x2, p2 Row 17:2, (p tbl, kt) x2, pls, p2, kl, pl, (kl, p el) x2,k2, Row 18: P2, kt, pl k tbl, (1/1 Re 1/1LC, kebl. pl, k tbl, p2. Row 19: K2, p tbl, I, (p2,K2) x2, p2, kl, prbl. 2. Row 20; P2,k bl, pl, 1/1 RC, p2,k2, p2, V/LC, pl. kt, p2. pl) x2, < 802 OX ¥K* o came 1B 18 16 14 12 10 8 nana e YAQ*Q* aoRnmtwisted stitches 2 Bavarian Check ey Multiple of 28 Beean Row 1: (PI, 1/1 RC) x3, pl, (kl) x8. Row 2: (P tbl) x8, (kl, p2) x3, kl Basea Row 3:(P1, 1/1 RC)x3,pl,(kebl) x8 Row 4: (P tbl) x8, (kl, p2) x3, kl Row 5: (PI, 1/1 RC) x3, pl, (kebl) x8. Row 6: (P tbl) x8, (k1, p2) x3, kl. Row 7: (PL, 1/1 RC) x 3, pl, (kebl) x8. Row 8: (P tbl) x8, (k1, p2) x3, kl. Row 9:(P1, 1/1 RC) x3, pl (ti) «8 Row 10: (Pel) x8. 8 Row 11 PL, (kebl) x8, pl, (1/1 RC. kl) x2, VRC. Row 12: 8,ki, (pl) x8, kt Row 13:P1, (kebl)x8, pl (1/1 RC. kt) x2, VRC. Row 14: P8, k1, (pebl) x 8, kL. Row 15: P1, (kebl) x8, pl, (1/1 RC, kt) x2, VRC. i ie tf x i mar a penpennnne popeoeepDn i x mf » x » popepeneDe pon poneeenenn poneeenpenn popepeepnn meoeeeeEDD OX Row 16:P8,KI, (pel) x8, Row 17: Pl (ke) 8 pl, (1/1 RC, kl) x2, W/ARC. Row 18:8, kl, (pel) x8, kl Row 19: PL (ke) x8, pl, (1/1 RC, kl) x2, WARE. Row 20: P8, kt, (p bl) x8, ppponeneoDX POHOHODOOOD mE_OODDDEDO pepponnnny. pepnnnneenx peppnnneNeNX EHEPHODDOCOOD Bavarian Clock Maliple of 18 Round {:PL, kl p(t) x2, 2, (kebl) X2,piskebl pl Round 2: PI, kl 4, 1/1 LC, p2, 1/1LC, 4. ktbl, pl Round 3: PI, kebl.p3,(1/1 RPC, 1/1 LPC) X2,p3,k bl pl Round 4: Pl, kebl.p3,kebl. p2, 1/1 LC, p2 Keb, 3, kel. pl. Round 5: keblp3, (1/1 LPC, 1/1 RPC) x2, p3,ktbl pl Rounds: PI, kebl pf, 1/1 LC, p2, 1/1 LC, pA. kebl, pl. Round 7:1, kblp3, (1/1 RPC, 1/1 LPC) felelotoloteletotetetstettetel =) 2, p3,k tbl, pl. Round 8: PI, k eb, p3,k eb, p2, 1/1 LC, p2, kebl,p3, kb. pl Round 9: Pl, kb, p3, (1/1 LPC, 1/1 RPC) x2,p3, kel pl. Round 10: PI, k bl, pf, 1/1 LC, p2, 1/1 LC, 4k, pl Round 11: PI, k bl p3, (1/1 RPC, 1/1 LPC x 2,p3, kb, pl Round 12: PI, k tb, p3, kel, p2, 1/1 LG keebl,p3,kebl. pl. Round 13: PI, kel, p3,k tbl p2, (Keb) x2, 12, kebl,p3,k bl, pl Round 14 PI, k tbl, p3, kth, p2, 1/1 LC, p2, kebl,p3, kb, pl Round 15: PI, ktb,p3,k tbl 2, (k cl) x2, 2, kebl,p3,kebl pl Round 16: PI, ktbl,p3,kebl p2,1/1 LC, 2, Kebl, p3, kel pl Round 17: PI, kel, p3,k tbl 2, (k el) x2, 12, kebl,p3,k bl pl Round 18; Pl, kl, p3,k tbl p2, 1/1 LC, p2, keebl,p3, kl. pl. Round 19: Pl, tbl, p3,k tbl, p2,(k tbl) x2, 2k bl, p3, kel, pl Round 20: Pl, kt, p3.k bl, p2, 1/1 LC, p2 kebl, p3,kebl, pl. poovopoonepnenneNONDa stitch in time 42 HEIRLOOM KNITTING SKILLS Honeycomb House Slippers Honeycomb patterns are often used as filler stitches in ‘Aran knitting. Sometimes they can be seen as wide central panels and at other times they are used to make the sides of a garment. This pattern results in a firm and warm fabric, ideal fora pair of cozy house slippers. The firm fabric will help them Size Ladies small (medium, large) Materials 2 1Mor (50g) balls light pink DK yarn Size 7 (4.5mm) straight needles Size 7 (4.5mm) 24in (60cm) oF longer cigcular needle (or dpns) 1 (3m) cibbon Tapestry needle Gauge 26 4s and 28 rows = 4in (em) over gst 4 YONG py ALTERNATIVE STITCHES Ifyou woud like ows a diferent std then choose a smallone that is a muipleof 00 or fur stiches—perhaps linen stitch on ‘page 32 or woven rib on page 33. The wider stitches would probably not be suitable, because they would be cut into wen you work the dereaesaroond she op ofthe fot. to keep their shape. HONEYCOMB PATTERN Row I: 1/1 RC, 1/1 LC. Rep from * Row 2:P. Row 3:°1/1 LC, 1/1 RC. Rep from * Row 4: P. SOLE Case on 12 (16, 16) sts and knie 4 rows. Inc at cach end of next row and follow ath row to 16 (18,18) ss Knit to 8 (9, 10in) (20,23, 25em) Bind offall sts bur last one: done break yarn. UPPER Cast on 8 (8, 12) sts ine scon need. Using circular ncedle, knit these 8 (10, 10) sesthen pick up and knit 42 (46,50) ssalong, side of sole, knit 12 (16, 16) st from easton edge, pick up and kn 42 (46,50) sts along ‘other side of sole, cast on 8 (8,12) sts Knit 4 rows working back and forth, notin the round, Row 1: K8 (8,42),p 10 last 8 (8,12), £8 (8,12) Keeping these edge sts in garter stitch, -work honeycomb pattern for 8 rows Row 9: KS (8,12), pi, (44,48) p20, p12 (16,16) p24og el, p40 (44, 48),k8 (8,12). Row 10: K4? (51, 59), k2tog, pattern 12, sk, keocnd Row 11: SI, p 12 (12, 16) urn Row 12: SU, pattern 12, ssk carn Rep from * ending these 2 ows until chere are 4 (45,58) st lefe at each end, ie to-end Neat row: (PI yf p2tog) vend. Next row: K Bind off FINISHING Join back seam and sew to end of ole ‘Thread ribbon through holes, stating and ending at center back seth LEFT: The honeycomb stitch give these slippers their dense, cozy teste.Soft Cowl Size ‘Thecovl measures approximately 7x 50in (18 x 126em) Materials 3x Doz (50g) balls purple spore-weight yarn Size 3 (3.25mm) straight needles Tapestry needle Gauge [Not importane for this project, z RIGHT: The twisted feather stitch gives this cov ts, lightly textured surface twisted stitches ‘Twisted stitches like the one used here have long been popular in the Alpine regions of Europe. They ate most familiar on socks and mittens but I thought it would be interesting to try one out on something larger. I chose the twisted feather stitch, because it does not have a definite beginning and end. The stitch has the added bonus of looking good from both sides, which is an important consideration when making a scarf or moebius twisted cowl. ‘TWISTED FEATHER STITCH. Row I:P1, 1/1 LC, p6. Row 2: K6, p2, kl Row 3: 1/1 RPC, 1/1 LC, pS. Row 4: KS, 2, kl, pl Row 5: Pl, 1/1 RPC, 1/1 LC, pa. Row 6: Ka, p2,kl, pls kl. Row 7: P2, 1/1 RPC, 1/1 LC, p3. Row 8: K3, p2, kl, pl. k2 Row 9: P3, 1/1 RPC, 1/1 LC, p2 Row 10:K2, p2, kl, pl K3. Row 11: P4, 1/1 RPC, 1/1 LPC, pl Row 12:K1, pl, k2, pls kd Row 13:6, 1/1 RC, pl Row 14: KI, p2, k6. Row 15:P5, 1/1 RC, 1/1 LPC, Row 16: PI, kl, p2,S. Row 17: Pé, 1/1 RC, 1/1 LPC, pl Row 18: KI, pl, kl, p2, ke. Row 19: P3, 1/1 RC, 1/1 LPC, p2. Row 20: K2, pl, kl, p2,K3. Row 21:P2, 1/1 RC, 1/1 LPC, p3 Row 22: K3, pl, kl, p2,K2. Row 23: Pl, 1/1 RPC, 1/1 LPC, p Row 24: K4, pl, k2, pl. kl. Leena eee eet etree eee eagle eee icepce siete ere ered Ce ee ee eee Soin (126m) ehdingon sow 24, ee Bind foe FINISHING Either join easton and bind-off edges with right sides Facing, or give cowl one twist and join with one wrong side and one right side Facingo form a mocbius cov. ALTERNATIVE STITCHES Bear in mind tat i yo are goingto sabstcate his site with one ofthe others from this secon, you should aoe one ‘that is easly reversible, Th sgeagpatern shown on page 38 would be suitable, and seould show up as purl stdes on ait stitch backround.Chapter Three RAISED STITCHES Bobbles, knots, buds, and loops are among the vatious Knitting techniques that have developed in almost all traditions, for creating a deeper or more intricate texture in a finished piece. Achieved by increasing and Nas decreasing stitches in a number of ways, they can be e most effective when used as accents or repeated motifs, Raised stitches are not just about decoration, however, Thick-stitched leaf patterns for babies’ blankets and the bobbles on an Aran sweater or a knitted beret are as much about creating warmth as a decorative finish,a stitch in time 48 HEIRLOOM KNITTING SKILLS Increase, Decrease ‘Almost all knitting traditions include raised stitches of one kind or another—from the delicate traveling stitches of Alpine twists to chunky Aran cables and plaits. Among them can be found numerous fun knots and bobbles as well as a wide range of embossed leaves, buds, and flowers Raised stitches encompass many different techniques all of them used for giv ‘thicker and more textured surface 60a piece of knieting Bobble Traditions Pechaps the most familiar application, of the bobble can be seen within the cable patterns on A. acers. Here you might see diamonds with bobbles at their centers or diamonds with pairs ‘or quartets of bobbles betwee There is also a chevron and bobble design and a framed bobble design. This last resembles the medallion moss swatch on page 71, bur with a bobble at its center. There are also latticework patterns that sometimes have bobbles at their crossing points. In some Arans and garments from the Tyrol, i chern Austria, the bobbles are arranged in groups, as in the rnosegay stitch on page 56, in order to form Rowers. In Tyrolean knitting, these would then traditionally be embellished with colorful embroidery, To make a basic five-stitch bobble a knie stitch is chen purled, knitted purled, and ki tured and the stitches knieted or purled d into, The work is again, depending on whether a smooth Knieted) or nobbly (putled) cexcure is sought after on the right side. The work is curned again and al che stitches eithe knitted or purled once more. Finally, the same stitches are worked one last time, then the second, third, fourth, and fifth stitches lifted one ara time, over the firs stitch. This decreases the stitches on the needle to the original count, anda bobble appears on the : work. The bobbles used in the Raspberry Beret on pages 58-59 are made working knit and purl stitches into the same stitch, but you can use whichever method you prefer Smaller bobbles are made in the same way, by increasing to three stitches, or by row. This is the method used to create the ‘nupps” seen in Estonian lace knitting want into one stitch, depending on how large you wane your nupp to be, and then, on the next ow, knit ot puel all th P he The lily 57 is typical of the stitches combined s together, he valley pattern on page with eyelets as used in Estonian knitting, where lace shawls became fashionable during che late-19eh century, when ABOVE: The fashion fr “white kniting” that Jnad begun in the drawing rooms of British and American homes during the Victorian cena continued well into the 20th century. This fan elderly woman in her richly wel was taken in 1919, wealthy women would travel to the mud baths of H ppsalu, The local women imitated the fashionable lace shawls that these visitors wore, adding cheie own interpretations to make them They devised ways of making these light and lacy shawls a lietle more substantial byadding bobbles, or “nupps” to increase their weight. An increased weight meant that the knitters would get a better price for their work. They became extremely desirable and are stil bbeing made and sold to tourists today ‘Traditional Leaf Patterns Raised leaf patterns often featured on the counterpanes and blankets that became very popular in Britain and the United era, although ates during the Vic they had been in use throughout Europe before that. During the 18th century, cotton began to be imported into Europe from the East and this spawned the craze for “white knitting.” Home grown cotton was already available in the United States, where enthusiasts were quick to take up this technique. Blankets and counterpanes were usually made up of squares, knitted in cotcon, which could be bleached to a pure white, unlike wool. This fabric looked fresh and could be laundered more easly chan wool. The er in blocks squares were joined toy of four before an edg 1gor border was added, often also incorporating some raised leaf or bobble patter. Although the generic leaf design is now known as English Garden, it was most popular in France, outlined with bands of different lace and textured patterns instead of the rows of eyelets that were more commonly used in England. Favorite English desi often based on the foxglove page 54, again with bands of reverse stockinerte stitch, between them. Afeer all che squares had designs would be knitted and sewn on raised stitches LEFT: Lace lev In tradicional patterns ale i100" from a knitted stem or it would be made out of one stitch by working a yam over at each side of a ceneral stitch. An interesting pattern can be made by workin, and then working a group of bobbles wo leaves forming a"V” shape above them in the shape of a flower, as in the flower stitch on page 53, but with more bobbles. All leaf patterns are made by form a vertical row of holes or working another form of increase such asa lifted or invisible increase, which doesn’t leave holes. These increased stitches then niced to be decreased back to one over a number of rows. How often you decrease determines the shape of the leaves frequent increases will make it shore and squat, while spaced increases will produce a longer, narrower leaf Looped Knitting Another form of raised stitch is that of looped knitting, Again, there are a number of dif ‘on how thick you wane the finished x methods, depending. fabric, or The traditional way isto wrap the yam three times around the finger on ow long you want the loops. alternate stitches and on every wrong: side row. You d 1 knit the stitch again aftr making the loops. You can cut becoming unraveled. The more times you wrap the yarn around your finger, the thicker the finished fabric will be. The same applies to how frequently you make each loop, too. Ifyou work it in every stitch on every wrong side row it will be thicker ¢ an if you do it less Frequently. This isa similar technique to that used among logging communities of North East America and Canada for making thick, “buff” mittens with loops on the inside, Because the stitch is knitted twice it doesnt unravel when itis cut dense and almost waterproof fabric. This and will not work with acrylic fibe 49