Archives for category: BT Design Team

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On Tuesday we talked about some of the fundamental “rules” of color theory as it pertains to knitting stranded fabric with multiple colors of yarn. Today I want to share some of my own design swatches for the Atlas pullover/cardigan that illustrate these concepts.

When I begin a new design, the first major block of time is spent making several swatches. This is never truer than when I am combining color (where swatching may comprise over 50% of the entire design process!). Knitting stranded colorwork is a very specific applied use of color, and it takes a lot of practice to begin understanding how colors work together in this format. More often than not, a color choice you were sure would be perfect doesn’t come together the way you thought it would, or better, a combo that you didn’t feel too terribly excited about ends up working beautifully. The only way to know for sure is to knit up your motif and see what happens! (Bonus: Knit your swatches on varying needle sizes to test what kind of fabric options you have; remember that stranded knitting is virtually twice as thick as single-color stockinette, so a more relaxed gauge is often preferable.)

For Atlas, a total of seven colorwork swatches were made (6 of which are shown in the following image; the 7th is used as an example below to illustrate what doesn’t work).

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Atlas’s yoke motif requires the use of 3 colors and is intended for use with three contrasting values of color: Light, Medium and Dark. For me, the choice of value is the first and most important step in choosing a trio of color, followed by the selection of hues. In this case I chose triads of color that live in similar color families (browns, blues, greys, etc.), but you can just as easily mix hues from all parts of the color wheel, as long as you keep the value relationship in place.

Swatches 04 and 06 were eventually chosen as final colorways for the knitted samples (click here to see the final result for each colorway), though most of these options would have made perfectly adorable finished garments for children.

Looking at the six swatches above – one of them jumps out at me as being slightly less successful than the others (at least relative to what my original goal was). Care to venture a guess? In my opinion, Swatch 05 is the least successful (though not a failure). Do the “squint test” at all 6 of the swatches above and see how the motif on Swatch 05 fades to darkness more readily than the others, particularly in the upper “elongated diamonds” section. This is because Colors 1 and 3 are closer in value to one another in Swatch 05 than they are in the others.

Another interesting item to note: in all six swatches, I prioritized the darkest value for Color 3, since it held the most “heft” in terms of defining the overall yoke motif. For Colors 1 (sweater color) and Color 2 (yoke contrast color), however, I played around with swapping the position of the Light and Medium values. For example, swatches 02 and 06 use the Light value as the sweater color, and the Medium and Dark values for the yoke motifs. The other swatches use the Medium value as the sweater color and have Light and Dark contrasting in the yoke. Both results are pleasing. The take-away: when your value structure is solid, you’ll find success in just about any configuration of Light, Medium and Dark (and! even more swatching possibilities)!

Below is an example of how quickly low-contrast color combos can turn muddy; I encountered this situation when I was swatching with shades of brown:

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The upper swatch was my first attempt combining browns from our palette. Tuesday I mentioned that you’ll sometimes be surprised at how similar values can appear in the finished knitted fabric, even when they seemed sufficiently different “in the skein”. When you work two shades onto a “grid” of knitted fabric, mixing color stitch for stitch, the colorwork fabric puts the value relationship to the true test. In this case, “Nest” (color 1, which would be the body of the sweater) appeared plenty different from “Truffle Hunt” (Color 3, the darkest shade) when I held the skeins together, but looked much less so when knitted. (Try the Squint Test here too.) So, it was back to the drawing board.

The second brown swatch shows how dramatically different the motif is when just a single color was swapped out for a darker value. The High Contrast swatch subbed “Pumpernickel” for “Truffle Hunt”, a much darker shade of brown. The results speak for themselves!

I’d like to make one final comment about all of this before wrapping up today’s post. When it comes to design and color, I don’t mean to insinuate that there are hard and fast “rules” for success. As in any creative endeavor, that author/artist/designer’s vision and intention are what should guide the decision making process from start to finish. In some cases, a lower-contrast, tonal colorwork palette might be your goal and in that case, choosing colors with similar values can get the job done (in this case, I recommend choosing wildly different hues with similar values, which can result in some very interesting combinations). I’ve structured this post with a more traditional approach, assuming that the goal is to easily see and decipher the graphic motifs featured on Icelandic yokes – and with that goal in mind, a “light-medium-dark” approach will automatically give you a strong foundation to begin your color pairings.

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Though only two colorways made it into the final BT Kids collection, I wanted to post a few more options here for anyone who may have seen a combo featured today on the blog that they might want to run with – on Atlas, or any other 3-color stranded project you might be planning. We’ll also be posting these alternate colorways on Atlas’s pattern page for reference as well.

I hope you’ve enjoyed this little soirée into color theory for knitters! It’s a subject I love talking about — many thanks for letting me indulge!

– Jared

 

 

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I always jump at the opportunity to design a new Icelandic pullover or cardigan. After returning from my summer trip to Iceland in 2012, my love of the traditional Lopapeysa has been at an all-time high. My first swing at a traditional Icelandic sweater design was Grettir in our BT Winter 13 collection, with a more recent follow-up design – Atlas – in BT Kids.

One of the most enticing aspects of Icelandic sweater design is the opportunity to play with color. It’s truly amazing how a wide range of results can be produced from a single colorwork chart, based solely on the use (or abuse!) of hue and value. Choosing yarns for colorwork, however, can be discouraging if you aren’t familiar with a few fundamental rules about color theory. This week I wanted to share some tips with you that every colorwork knitter (or designer) should have in their arsenal.

In today’s post (Part 1), I’ll talk about the difference between hue and value and how these two attributes of color are intimately linked to the success of your final project. On Thursday (Part 2), I’ll show you how these theories were applied (with varying degrees of success) during my own design process for the Atlas pullover and cardigan. My hope is that these simple colorwork rules will keep you from the heartbreak caused by muddy, hard-to-see colorwork motifs in your knitting.

Hue & Value

When talking about color, there are two important terms to understand: Hue and Value. Every color under the sun (with the exception of  pure black and pure white, depending on who you ask) has a hue and a value. These two words describe the two basic “ingredients” of color, and understanding their distinction is key to successfully combining color in knitting.

Hue refers to the attribute of a color by virtue of which it is discernible as red, green, blue, etc. The word “hue” is often used interchangeably with the word “color”.

Value refers to a color’s relative degree of lightness or darkness.

The easiest way to think about value is by visualizing color on a greyscale spectrum. Remember that every color has a value – though it may sometimes be difficult to discern depending on how saturated a color’s hue is. The diagram below shows a range of values from pure white to pure black, with equal intervals in value from one shade to the next.

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Value Scale

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Why is value important? Because it helps our eyes discern between colors by way of their contrast. The greater the difference between two colors’ values, the more contrasting they appear to our eyes and hence the easier they are to “read”.

Using Value When Choosing Color

With stranded knitting, value is especially important because colors are “mixed” as the fabric is created, with single stitches of one color neighboring single stitches of another. (Value is less of an issue with broad stripes or colorblocked fabrics because the surface area of a single color is large, making it easy for the eyes to distinguish between even subtle shifts of hue and value. Not so with stranded colorwork. If your value structure is not sound, all your careful handwork may result in a muddy motif that is difficult to see (and appreciate!).

Your best course of action is to “value test” your colors before you begin knitting. The easiest way to test your values is with the squint test. Place your potential colors on a flat, well-lit surface and huddle them next to one another. Squint your eyes and study how squinting causes the colors to become more or less similar in value. When squinting, values are easier to recognize. If – once squinting – your colors become MORE similar, you likely are working with colors that are too similar in value and should consider pulling in something with more contrast.

The second, more high-tech method, is to take a snapshot of your colors on a digital camera (smartphones are wonderful for this purpose) and convert the image to greyscale. A black and white image removes all hue information and leaves only the values of each color to compare. This is a fantastic trick that takes all the guesswork out of the equation. 

Below, I’ve shown two different color schemes for a 3-color Icelandic yoke. The photograph on the left shows the colors as they appear to our eyes; the photograph on the right has taken all hue information away, leaving only values to be contrasted. It’s pretty easy to tell right away which of these two color groupings would make a more successful finished piece:

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Value Combination 1 uses colors “Woodsmoke”, “Tent”, and “Artifact” and represents a true light-medium-dark value relationship. (Squint at the screen and look at the greyscale image on the right – the values become even more obvious than they are to the naked eye).

By contrast, Value Combination 2 uses three colors that look beautiful together upon first glance (“Thistle”, “Wool Socks” & “Homemade Jam”), but when the hue information is stripped away, these colors look virtually the same. (Squint again to double-check.)

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If both color combinations were used to knit the same colorwork motif, you would quickly notice  a drastic difference in the overall effect on the finished fabric. Combination 1 would have a graphic effect that enhances the angular motifs found in Icelandic yokes, while Combination 2 would cause the motifs to fade into a much less discernible configuration.

When choosing colors for colorwork patterns, the assessment of value should always be your starting point. I keep a trusty snapshot of our BT Shade Card – converted to greyscale – readily available. When I begin a new colorwork design and start pulling potential color combinations, I assess their value before deeming them worthy of swatching.

You can see below how quickly the palette separates itself into light, medium and dark values with a simple black and white conversion:

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In the next post, we’ll take these fundamental rules for a test drive by looking at my design swatches for Atlas – examining why some are more successful than others due to their internal value relationships.

Stay tuned for more colorwork geekery later this week!

– Jared

 

This morning we’d like to introduce you to three of the colorwork designs in BT Kids: Jared Flood’s Atlas, Véronik Avery’s Magnus, and Julie Hoover’s Carson. These very different garments offer a chance to sink your teeth into techniques you may not have tried, so we’re glad to have the chance to talk about them in more detail. We thought you might also like to learn about the designers’ inspiration for these pieces.

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BT Kids: Colorwork Spotlight

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A visit to Iceland two summers ago cemented Jared’s love for the lopapeysa, the quintessentially Icelandic patterned yoke sweater, and led him to design Atlas. The lopapeysa tradition isn’t as old as you might imagine—it was invented in the 1950’s as a vehicle to bring the distinctive Icelandic wool and bold design sense of Icelandic artisans to an international market. The sweaters are so beautiful and useful that they quickly became iconic. Viewed from above, the yoke creates a sunburst effect that lets the designer play with simple combinations of shape and color. Jared loves how effortlessly lopapeysa sweaters come together—they’re seamless, with a lot of meditative stockinette, and just when you start feeling you could really handle something a little more interesting, along comes the glorious colorwork yoke, which is neatly finished before you feel overwhelmed by it. The lopapeysa is traditionally worked with bulky-weight wool, though Jared has always wanted to try one in a fingering weight. BT Kids seemed like the perfect opportunity, especially because the yoke motif could then be scaled back up for larger sizes just by substituting heavier yarns.

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Atlas by Jared Flood

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Atlas is offered as a pullover for knitters who want a seamless garment that’s quickly finished, but Jared added a cardigan variant for those who prefer more versatile styling options. The knitting process doesn’t change, but if you’re working the Atlas cardigan, you’ll cast on extra stitches to form a steek at the center front and then cut the fabric open when the sweater is complete. This clever shortcut is part of the knitting tradition across Scandinavia, the Shetland Islands, and Iceland, and it lets knitters create stranded color patterns while always looking at the right side of the work and never having to carry floats in front while purling—a slower and more awkward process for most of us.

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Magnus by Véronik Avery

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Steeks can be used to open the whole front of a sweater, as in Atlas, but they can also be used for shorter spans like armholes and neck openings. That’s how Véronik employed them in Magnus, her handsome interpretation of traditional Scandinavian handknits. If you’ve never tried a steek before, Véronik recommends cutting a swatch of your project yarn—it doesn’t even have to be a stranded swatch. If you’re nervous about the cut edge unraveling or if you’re using a non-wool fiber, a line of machine stitching ensures that nothing will come undone. (Tip: Place a piece of tissue paper under the knitted fabric for stability so the machine’s feed dogs won’t stretch out the seam.)

Véronik thinks the design quality of Scandinavian knits is particularly well suited to children, being both modern and traditional. Magnus is intended to be truly unisex, perfect for handing down through the family. The hood is a modern touch, added for the simple reason that kids love hoods!

Carson by Julie Hoover

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And if you’re too impatient to wait until the yoke for your colorwork, try Carson. Julie had been playing with this diamond motif for a long time, auditioning it for at least two different collections before it found the perfect home in BT Kids. She cleverly placed the colorwork at the hems and cuffs of the pullover so knitters can work it in the round without worrying about steeks, and all that eye-catching detail in the lower portion of the piece invited some special treatment at the top for balance. Julie’s answer was to expose the seams where the sleeves are set in, which makes the seam visually prominent, and that drove her decision to work some unusual shaping through the yoke as well. She used a combination of full-fashioned decreases and a sloped bind-off to create a saddle shoulder in the front and an innovative hybrid shape in the back. She says it does take extra care to ease the sleeve into the front yoke correctly—you may want to use safety pins or split-ring stitch markers to secure at least the seam ends and the point of the shoulder before you start to sew. Julie also advises wet-blocking both the individual pieces and then the finished pullover for the most successful result.

Thanks for stopping by today to meet Carson, Magnus, and Atlas! Jared will be back next week with a post on choosing colors to help you take the next step if you’re considering any of these designs.

Our photoshoot for BT Kids has to rank as one of our most entertaining times on set, ever. We shot the collection with 6 beautiful (and hilarious) children – ranging in ages from 2 to 8 – in a Cobble Hill (Brooklyn) brownstone, as well as the surrounding neighborhood blocks.

Shooting a collection is always a wild experience. Despite the epic amount of planning that happens beforehand, variables like weather, location idiosyncrasies, models and collection size make each shoot unique and different in its own way. One thing is always a definite – it’s a process that consistently keeps you on your toes!

We have a lot of fun on set bringing a vision to reality; watching the magical process of a pattern coming to life in front of the camera after months of work is gratifying, indeed. Knowing this shoot was going to be particularly entertaining, we brought a couple video cameras along to document the process and have edited the footage into a fun behind-the-scenes video to share the story of our weekend.

Working with these kids was an unexpected reward (not having children of my own, I was slightly nervous about the idea of shooting with 6 of them!) – in the end, though, I really loved it.

So pull up a chair, and enjoy this glimpse into the action!

– Jared

School’s out in North America, and for many families that means a long summer stretches clear to the horizon. Summer can be languid or packed with adventure, but even for those of us grown-ups who still have to work, the pace usually feels gentler and more elastic this season. With any luck it’s even punctuated by vacations and free time to cast on new projects. We always like to release a design series in June to give you some fresh ideas for your summer knitting as you take advantage of a “lazier” timeline.

Knitters have been asking me for years if Brooklyn Tweed would ever do a children’s collection. Kids’ garments can be especially satisfying knitting, accomplished with small quantities of yarn and in less time, but with all the pleasurable details of adult-size projects. They make great gift knitting. And who can resist the aesthetic double whammy of a beautiful handknit sweater on a cute child?

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BT Kids // Lookbook

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Today I’m excited to answer a resounding yes(!) with the release of the first ever BT collection for kids. Our design team has spent just under a year planning and knitting the samples for this collection, so it feels especially gratifying to see things going public this morning.

We began with the notion of drawing on iconic knitwear from around the globe, styled for modern kids in the city or the country. Inspired by the Icelandic lopapeysa, Scandinavian stranded colorwork with steeks, cabled fishermen’s sweaters, delicate vintage cardigans of lace and cables, and more, we started sketching and swatching. We even added nods to classic stuffed toys and to the current intarsia animal trend as well.

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Berenice | Magnus | Atlas

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Our hope is that there is something for every knitter in this collection—sweaters worked in the round, sweaters worked in pieces and sewn together, hybrids of the two, innovative shoulder shaping, cables, lace, stranded colorwork, intarsia colorwork, home accent pieces, blankets, accessories, even hats sized up to adult dimensions if you don’t have any children to knit for. (We think you might even be tempted to scale up some of the designs for yourself, too!)

Essentially, we can’t wait to see what you all do with BT Kids.

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Bairn | Humphrey | Spore

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The garments in the collection are sized for young ones aged two to ten years. The new lookbook pairs each pattern with descriptive text that calls attention to construction details you might wonder about or possibilities that might get your creative gears spinning. You’ll also find some advice on choosing sizes and musings on the potency of crafting for your family from our house writer.

In the next few weeks we’ll use our social media avenues to visit clusters of designs from the collection—those with cables, those with colorwork, etc.—for a closer look, as well as delve into some of the practical aspects of knitting for children.

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Our whole team is excited about this new dimension for Brooklyn Tweed, and we hope you’ll thoroughly enjoy leafing through the lookbook.

Happy summer!
– Jared

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Resources: The BT Kids lookbook is now available for viewing on our website here, or download the free PDF for viewing on your tablet or device.

Each pattern in the collection is available for instant download here, or on Ravelry.com. Brooklyn Tweed yarns used in the collection are available for purchase online, or at one of our 16 flagship retail locations.

Amirisu released their fourth issue last week, which highlights Brooklyn Tweed as the magazine’s featured brand. We had a lot of fun working with Amirisu, contributing both design and written content throughout the issue. If you aren’t familiar with this online publication, it is the passion project of a Tokyo-based knitting/editing duo whose shared goal is furthering the online knitting culture in Japan. The magazine’s content is presented in both Japanese and English.

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Amirisu 4

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Last Fall, editor Meri Tanaka interviewed me about US-yarn production and my history as a designer. Within the article I talk a bit about how I got my start developing  and manufacturing yarns, as well as my start as a knitter. See pages 50-57 for the full article (excerpts shown below).

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I also contributed a short written piece for the magazine entitled “Elizabeth For Beginners”. Though Elizabeth Zimmermann is a national icon to us American knitters, Amirisu informed me that her work is not well-known in Japan and requested I contribute a piece that would act as a sort of gateway to EZ’s work. Within the article I give a very brief version of Elizabeth’s story and suggest some of her most beloved patterns for folks who are just discovering her work (pages 68-71).

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Last but not least – patterns and yarn! Brooklyn Tweed’s own Michele Wang and Leila Raabe contributed designs to the collection using BT yarns. Michele’s Tsubasa Top is a fun, spring-ready pullover worked in Shelter (color Blanket Fort) with arrowhead lace panels and dolman-style cap sleeves. Leila’s Preble Hat is worked in Shelter (color Snowbound) and features a woven texture pattern and twisted-stitch cable insertion. Both patterns can be downloaded directly from Amirisu (pattern info is also available on Ravelry).

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Tsubasa by Michele Wang | Preble by Leila Raabe.

A big thank you to the editors of Amirisu for featuring our work throughout the issue!

– Jared


I love a good cabled scarf in the winter. If I had it my way, I’d wear them year-round, though I no longer live in a climate where that is possible.

Frieze is my newest scarf design from the BT Winter 14 collection. Named for it’s relief-like texture and staggered motifs, the fabric reminded me of the ornate marble friezes I studied as a young art student living in Rome. I remember being drawn to these decorative, patterned entablatures that adorned Roman and Greek temples, with their curved lines and repeating motifs. I was struck by how such delicacy and lightness could be achieved in carvings using a material as unforgiving and solid as marble.

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When I wear scarves, I prefer a bit of volume. When it’s really cold, I like being able to burrow into a scarf, and use it as a sort of face mask to block the windchill when necessary. To me the perfect scarf looks good worn alone (simply, over a shirt, blouse, dress, etc. as shown) or paired with outerwear. The addition of buttons and buttonholes along the top and bottom edges is a fun detail that adds versatility to the item. When buttoned, the scarf becomes a loop that can be worn in multiple ways. By playing around with how many buttons are used, or which button-to-buttonhole pairing you choose, a wide array of styling options becomes available. Why not have a little fun with it?

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Frieze incorporates three large medallion cables – each nested with smaller, wrapped eyelet crosses (commonly seen in Japanese stitch dictionaries) – which are staggered over the length of the piece. Traditional 4-stitch “rope” cables are used as separators between the larger motifs as well as trimming the selvedge edges; these four cables are also mirrored over the center line of the scarf (cable crosses lean away from each other for perfect symmetry).

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In terms of knitting geekery: the reinforced buttonhole method used within the pattern is relatively new to me, and an incredibly exciting technique that I learned from my friend Catherine Lowe. I’ve never seen this method anywhere else before, and am not sure if there is an official name for it. After working the buttonhole bind-off row, the return row has you cast on the number of buttonhole stitches + 4 to a spare DPN (or cable needle), then work the pair of scarf stitches preceding and following the buttonhole together with the first and last two stitches of the cast-on row by way of directional double decreasing. Difficult to summarize here, but not at all difficult to execute, and the results are so worth it! Finished buttonholes remain both flexible and stable (more deftly avoiding the common problem of stretching out of shape after continued use).

It’s a fun knit for cable lovers, and one that I look forward to wearing myself!

– JF

 

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Resources:

The Frieze pattern is available for download at Brooklyn Tweed or on Ravelry. The Shelter yarn used in the photographed sample is available here.

 

 

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If you’re familiar with my past design work, you know that the Shetland Hap Shawl is a genre that I come back to time and again. I think this is because I am generally interested in the intersection between utility and beauty in design – and this traditional shawl style was born directly from that crossing. Worn by working women in the Shetland islands, the Hap Shawls’ primary function was to keep the wearer warm in the harsh conditions of the Northern Scottish Isles.

Over time, however, Shetland knitters developed a signature style for these shawls. They were generally square in shape and worked in garter stitch, with a plain central section worked in a solid color. The outer border almost always uses some variation of an Old Shale lace pattern and very often employs multicolored striping sequences, which were the perfect use for assorted oddments of shetland wool left over from former projects. (If you are interested in learning more about the history of Haps, Sharon Miller’s book “Shetland Hap Shawls” is the definitive source on the topic – I highly recommend it!)

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When we began concept sketches for the Winter 14 collection, the urge to design a new Hap Shawl was welling up inside me yet again. With this design, though, I wanted to think more about what types of shawls and construction methods appeal to the modern hand knitter, and apply those ideas to the traditional look of the Hap.

The first and most obvious choice was to create a triangular shawl, rather than the traditional square format. Triangles are faster to knit, easier to wear and more versatile as a styling item – so that decision seemed to make sense. After that, I needed to decide upon a construction sequence that would keep the knitting both interesting and efficient. I knew I wanted to keep the entire project seamless, so that goal was my starting point.

The diagram below maps out the knitting sequence, which begins at the base of the inverted central triangle. The entire project begins with just a single stitch cast onto your needle; the rest of the shawl grows out of that lone loop (I love that). The central triangle is worked back and forth, increasing one stitch per row by way of a yarn over at the beginning of the row. This type of shaping allows the garter stitch ridges to travel straight across the inverted triangle, which makes for an attractive contrast to the diagonal direction of the undulating border.

 

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Additionally, the yarn over selvedge conveniently provides open loops along the shaped sides of the central triangle, creating the perfect pick-up edge when you return to work the colorful lace edge.

You’ll see a dashed line at the top of the central triangle in the diagram above. When this point is reached, live stitches are placed onto waste yarn to be held until you work a contiguous top border that incorporates both the central triangle and the diagonal side edges of the Old Shale lace portion of the shawl.

After securing these live stitches with the waste yarn holder, stitches for the lace border are picked up along the diagonal edges of the central triangle (effortlessly, from those yarn overs along each edge). Upon completion of pick-up, the lace border is worked back and forth, with mitered increases at the triangle tip and side edges of the border (to maintain the overall triangular shape of the piece).

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I played around a bit with ways to modify the traditional Old Shale lace motif, and found that I liked working a row of elongated “drop” stitches between the colored eyelet rows. The photo above shows these rows clearly. These elongated stitches are created by double-wrapping the yarn as you knit across the row, then dropping one of the double wraps as you work into the stitch on the following row. The eyelet rows (worked in alternate colors) gently distort the fabric into wavy lines, which in turn effects the shape of the elongated rows nicely.

The project is also a fun excuse to play with color! In my version I used 5 different shades of Green from the Loft palette – but there are so many different ways you can use color in this border. It’s a perfect use for small amounts of leftover wool that you might have lying around. You can also keep it simple by working the shawl with only two colors (a main “shawl color” and a contrasting stripe color). The pattern includes yardage amounts for both a 2-color version and the 6-color version (shown) so you won’t need to do the extra math.

Traditional Hap Shawls usually employ a fancy knitted-on lace edging to finish the piece. While these edgings are beautiful, they can also be a bit fussy. In an effort to modernize and streamline the design, I liked the idea of keeping a clean bind-off edge – both from the perspective of finished appearance and convenience during fabrication. It is certainly a more concise finish than the traditional method – just remember to keep your bind-off row very relaxed so you don’t run into elasticity problems when blocking.

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After completion of the striped lace border, return to the top edge of the project, pick up stitches along the side edges of the lace border, and incorporate them into the same row as your held live stitches from the center triangle. Once united into a single row, work back and forth in garter stitch for a few ridges and bind off to complete the top border (a relaxed elastic bind off is advisable here as well).

All in all, it makes for quite a fun knit that looks complicated but is easier to create than you might think upon first glance. It’s also the type of project that you finish and immediately start thinking about what changes you’ll employ for your second one!

The best part for me, though, comes now – as I get to witness the creative variations you knitters will make! If you do choose to embark upon this shawl, I hope you’ll enjoy the process of not only knitting, but playing with color and striping ideas too. Have fun!

– Jared

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Resources:

The Kelpie pattern is available for download at Brooklyn Tweed or on Ravelry. The Loft yarn used in the photographed sample is available here.

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The first weeks of January can sometimes be difficult; the holidays have passed, and along with them, the romance of early winter. The weather is cold and dark, and we feel cultural pressure to make resolutions in an effort to craft better versions of ourselves. For these reasons, I like to schedule things for this period that are really worth looking forward to. Positive anticipation is always a great antidote for those “slump” times!

When working on the 2014 calendar, I thought early January seemed like the perfect time to release our Design Team’s winter collection, hoping it could be just the thing to chase away some potential post-holiday blues.

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Our yearly winter collection is one of my favorites. It seems like the most appropriate time to indulge in any and all types of knitwear design, be it classic, modern, traditional, heavy-duty or lightweight. Anything goes when everyone needs something wooly to wear outdoors (and even indoors for those of us in drafty historic buildings)!

For this collection, we created pieces for two different stories. The first – Elements – focuses on clean, modern knits in a palette of neutrals (three of which are pictured below). These knits are cool and comfortable wardrobe items that can be dressed up or dressed down with ease. Casual sophistication is the name of the game here – from boxy, striped “boyfriend” sweaters (Benton at center) to luxurious cabled scarves that – with the simple addition of wooden buttons – convert to stylish and toasty cowls (Frieze at right).

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Our second design story – Shingle and Copse – was inspired by walks on a winter coastline. While I love a beautiful summer day on the beach soaking up the sun just as much as the next person, a solitary walk on that same beach during winter is my true love. The muted color palette, the powerful winter waves, the atmospheric horizon line – these things make my introspective heart go pitter-patter.

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These knits are intended to be thrown on with other layers for a cozy, bundled-up style that is perfect for windy walks (be they city or country). Our creative team traveled to beautiful Cedar Point, Long Island for the shoot where both models and crew got to test the effectiveness of these knits in the brisk conditions of the coastal marshlands there.

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The full collection releases today, with each pattern available for instant download via Brooklyn Tweed or Ravelry. Our newest lookbook features extensive photography of the design collection, as well as detailed pattern diagrams and descriptions, a special essay written for us by Portland author Sarah Pope, and peeks behind the scenes from our days shooting in Cedar Point.

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Throughout January, we’ll be sharing more stories and details about this collection here on the blog, as well as our Facebook, Twitter and Instagram pages, so stay tuned. For now, though, I invite you to pull up a chair and enjoy exploring the lookbook!

I hope this collection brings you inspiration as we look forward to the coming year.

–Jared

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Resources: The BT Winter 14 lookbook is now available for viewing on our website here, or download the free PDF for viewing on your tablet or device.

Each pattern in the collection is available for instant download here, or on Ravelry.com. Brooklyn Tweed yarns used in the collection are available for purchase online, or at one of our 16 flagship retail locations.

We wrap up this week’s blog posts with our third and final interview with Design Team member Véronik Avery. Véronik joined our design team in the Fall of 2012 – this collection marks her first year of working with us at BT. We got together this morning to chat a little about her Coal Cardigan design.

JF: Happy Friday, Véronik! Thanks for joining me today.

VA: Hi, Jared! Thank you for inviting me to join you here. I’ve been looking forward to it.

JF: I have always loved the way you combine a sensibility for traditional, classic knitwear with a modern (sometimes unexpected) twist. How would you describe your aesthetic when designing sweaters?

VA: I think my aesthetic is always evolving, but certain elements do return time and time again. I like having a sense of history as well as a story, which probably stems from my past costume design aspirations. Because of it, I don’t dress myself as much as I dress characters – whether real or imagined.

JF: What was your inspiration for the Coal Cardigan design?

VA: With the Coal Cardigan, I began as I often do with sketches. Sometimes a garment is already in mind before I pick up a pencil, but other times I simply start by playing with silhouettes and filling them in in various ways before an idea starts to take shape. With Coal, the idea was quite abstract and as the sketch started to take shape, it began to look like a knitted motorcycle jacket. Since I am not a big fan of literal renditions – especially knitted ones – I continued to strip it down to the elements which interested me most, such as the asymmetrical closure.

JF: There is some shaping on the back panel as well that contributes to the overall fit, yes?

VA: Yes there is – because I wanted to simplify the front shaping, I opted to flare out the back side seams, borrowing from shoulder shaping that is worked with twice as much angling in back so as to keep the front shoulder straight.

JF: Can you tell our readers a little more about the knitted details featured in the design?

VA: The traveling cables on the fronts necessitated several rounds of swatching; I tried increasing and decreasing, but my fabric formed such a bias that I worried that only enthusiastic blocking could straighten it. I then tried a more richly cabled surface knit with traveling stitches as in the final version, but all drape was lost. In the end, I opted for a more minimal amount of cabling and diagonal lines of knitted stitches against a reverse stockinette background.

JF: Where and how do you envision this garment being worn “in the wild”?

VA: Oh, there are so many options! One could style it in a streetwise way, and pair it with a slim fitting skirt or pants – perhaps leather ones. I know my daughter will probably wear it with one of her several pair of brightly colored mens-style trousers once it returns home and perhaps a pair of white Doc Martens.

JF: And how about styling for yourself?

VA: Were it in my size, I’d probably opt for an interesting skirt and tall leather boots. 

JF: Versatility is such a great quality in knitwear – it’s one of the things I love about the genre.

The design is great – thanks again for chatting more about it with me today, V!

VA: Anytime, Jared. Have a great day!