Archives for category: Colorwork

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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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alt_atlas_colorways

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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_01

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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.

 

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JF: Hi Carol! Thanks for joining us from Ireland!

CF: Delighted to be here, it’s always so much fun to be part of Wool People.

JF: You began self publishing your own designs in 2007 and have amassed an impressive amount of design work in the 5 years to follow. Can you tell us a little more about what your day-to-day process looks like as an independent designer?

CF: My day is divided between designing and parenting. After dropping kids to school I start my workday at home with my mornings devoted to design work and social media. It’s hard to get a balance between the two; marketing and design occupy very different headspaces so I’ll often need a walk with the dog to switch gears. I usually don’t have time to knit in the mornings, that comes later in the day. My afternoons are filled with children’s activities. With 4 boys who are involved in more things than I can list there are some days that I could spend 3-4 hours driving in circles. Fortunately knitting is portable so an hour waiting in one place is a luxury!

Once the driving is over and the youngest in bed I get to have my knitting time. I’ve got a spot on the corner of the sofa that’s got all my projects lined up in different bags and a pile of stitch dictionaries on the coffee table that are threatening to tumble.  I knit almost all of my own samples (unless I’m very short of time) as I find that some of the best design ideas happen on the needles. Watching your work as you knit allows you to modify a good idea and turn it into a great one.

JF: I agree – it seems that the best design revelations happen when your ideas are taking shape in your hands.  

 Producing the amount of work you do while also mothering 4 boys is amazingly impressive! I would imagine you must be pretty organized to pull it off. How important is organization in your work, and can you share any tips for keeping on track and getting things done?

CF: Organization is very important to me, Im a big list maker! Before I finish at my desk each day I try to create a new to-do list for myself for the next day so that I can jump right into work rather than trying to remember where I was. This also helps with time management as my time is often broken up into small chunks; if I know I’ll be waiting in my car for an hour I’ll check my to-do list for a portable job that can be done in that length of time. It does mean that I’ve got overflowing lists everywhere, my desk, phone and even random notebooks in my handbag. I also try to break down my design work into all the steps that have to be done; so I’ll start with swatch/sketch, then move on to sizing and the basic pattern. Once that’s done I’ll knit the sample, rewriting the pattern as necessary. Finally, after blocking gauge is double-checked I finalize the pattern and draw the schematic. Each of these steps is written down and crossed out when done. This is extra important when working on a book so you can see at a glance if some step has been forgotten.

This organization doesn’t always come naturally to me. My desk is a towering mountain of paper and yarn and I eventually gave in this year and got some help with cleaning. I’ve come to accept that there are so many hours in the day and there is physically no way to do everything so you need to prioritize and get help when necessary.

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JF: How has your work changed since you began pursuing this career? What lessons have you learned that you might like to share with younger designers who are just starting out?

CF: I think my basic design aesthetic hasn’t changed dramatically over the years, although I am finding myself drawn increasingly to cleaner lines with interesting construction methods.

JF: (That certainly shows in your newest Wool People design.)

CF: The art of pattern writing is learned by trial and error. When I began designing there were sometimes ideas I had to abandon, as I didn’t yet have the pattern writing skills to write them as a multi-sized garment. This is something important to realize as a new designer, it takes a whole lot of practice! This means writing and re-writing patterns frequently.

Tech Editors are fantastic; they can really help you improve your pattern writing. Test knitters can also help in this, when a knitter is giving you feedback as they work through your pattern you see it through another persons eyes. So it is a constant process of evolution, learning from past mistakes and figuring out better (and clearer) ways to write.

JF: I definitely agree – whether it’s a tech editor, or a test knitter, once you are far enough along in the process you need a few pairs of fresh eyes to look at the work and give you feedback. After writing (and especially grading) a pattern, it’s easy to miss the forest for the trees, as the saying goes.

CF: Writing for different publications helps with this as well. Every publication has a different style guide that you need to work with. While it’s time consuming it can also be a learning process, potentially improving your own self-published style guide.

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JF: Pente” is your third contribution to our Wool People series (Hathaway from Wool People 4 was your first, and Carpino from Wool People 6 your second, last Fall) and everyone here really loves this cardigan. Where did your inspiration come from for Pente?

CF: Over the past year I’ve been fascinated with biased fabric. It started with Vertex Cardigan for Interweave last Spring. The increase line at the center of the back creates an arrow effect with the lightly variegated yarn but I wanted to explore it further. The next biased garment I did last summer was Nishibi which used a biased central panel in ribbing that created a diagonal effect again with just increases and decreases. The idea for Pente came after that; I wanted to create a dramatic front drape on a cardigan primarily using biasing.

JF: The construction of the garment also makes this cardigan special – I love that you chose to use a subtle striping sequence to highlight the directionality of the fabric.

CF: The subtle color striping in the fabric really helps to emphasis how the direction of the fabric shifts from front to back; it makes it easy to see how the use of increasing and decreasing dramatically shapes the fabric.

JF: Can you give our readers a brief explanation of the overall garment construction? 

CF: I love seamless designs; to me they really utilize the flexibility of knitted fabric. This design is worked seamlessly in one piece from the bottom up. It starts with a clean turned hem at the bottom, which allows us to echo the stripe color. From here the front panels (which are extra wide to allow a flowing front drape), are biased using increases and decreases along the side seams. The stripe sequence is worked in subtle colors which make it quite understated. It would be very easy, though, to change the colors used for a more dramatic effect, even blending from one color on the bottom to a different one on the top for an ombre effect.

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JF: (That would be a beautiful variation!)

CF: Once the body is complete the front and back of the yoke are worked separately. I’ve used short rows to create shaping for the sleeves, so that both the cuff and top of shoulder fit well. Short rows are also worked along the front so that the biasing doesn’t impact the fit at the top of the front.

Finally this cardigan is finished using a Joinery Bind Off across the top of the shoulder in the contrasting color. I love the crisp clean line it gives that really feels like it finishes the garment off perfectly.

JF: It’s very smart and well thought out – in my mind, that is always the mark of good design – bravo! 

What is next for you? Any future projects you can share with us?

CF: Ive just recently signed a contract with Potter Craft for a new book that will be released in Fall 2015. The complete book is due in August this year so I’m very busy right now! I’m so excited to see this project in its finished form; it’s a topic I’m very passionate about and it should make a great book.

In a shorter time scale, I’m also getting ready for a Summer KAL with Briar Rose Fibers. I did a KAL with Chris in the Fall of 2012 and she was just lovely to work with so I’m really looking forward to the KAL. Now I just need to get time to write the clues between book projects!

JF: Sounds exciting – best of luck with your upcoming projects and thanks again for taking the time to chat with me today!

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Naming your patterns can be a tricky business – finding just the right word that conveys the mood and feel of your design is a very important part of the design process.

Sometimes when you find the perfect name, you learn later that that same name is already in use elsewhere, and in rare cases has been previously trademarked by another party. We do our best to properly vet all of our pattern names, but once in a blue moon find out that we’ve inadvertently stepped on the toes of another person’s trademarked word.

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Sundottir by Dianna Walla

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So was the case with Dianna Walla’s Skydottir pullover from Wool People 6. Dianna was recently contacted by a business in Seattle who has trademarked the name Skydottir and requested that we change the official name of the pattern. We were happy to oblige.

Dianna has chosen to change the garment name to Sundottir – and as of today we are reflecting this change on our Ravelry listing as well as brooklyntweed.com.

Thanks for listening (internal housekeeping doesn’t always make for the most exciting blog content), and happy weekend to all!

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JF: Welcome, Dianna! Glad to have you on the blog today! 

DW: Thanks for having me!

JF: Your design work seems heavily inspired by Scandinavian traditions and culture. Can you tell us a little bit about that? Do you have a family history in that region of the world?

DW: There’s definitely a lot of Scandinavian influence, but I don’t have any family background in that part of the world! I’m just drawn to it, for whatever reason. I have several friends from Norway who I initially met online, some as long as a decade ago, and they initially got me interested in it. The language drew me in first, and then the more I learned about the culture, the more I fell in love with it. I’ve been fortunate to travel to Scandinavia several times now, and meet those friends who I still keep in touch with.

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JF: Can you give me some back story about the design of Sundottir? I know when we first started talking about a design submission you had an old, beloved version of the sweater that you were wanting to refine into a finished pattern. When and how did the idea begin?

DW: I knit that old, beloved sweater in 2010. I’d been working on stranded colorwork for awhile, but only on accessories. So I decided, being so into Scandinavian design and culture, I really wanted something along the lines of the beautiful traditional sweaters from Norway and Iceland. Looking back, I think I wanted something a little more modern, too, that felt more like me, because none of the patterns out there were jumping out at me. So I decided to come up with a design myself. It’s been a thrill to return to that design and work on how to turn that idea into a pattern.

JF: I am always a fan of mixing the modern with the traditional – I think that’s what works so nicely about this design. A classic yoke motif, fluffy wool and traditional color combo paired with a fitted shape that feels current. The other nice thing about this sweater is that making custom alterations is pretty straight forward. Any tips for knitters who might want to tweak the garment slightly to suit their own body types and ease preferences?

DW: Absolutely! The yoke chart begins on a multiple of 8 stitches, so as long as the number of stitches on the needle is a multiple of 8 when it’s time to start the colorwork section, almost anything else goes. Some folks may want to eliminate the waist shaping – I’d use the number of stitches after the bust increase section as the number of stitches to cast on. Others may want more defined waist shaping, in which case adding decrease rounds and increase rounds would be pretty straightforward. Knitters could also turn it into a cardigan by steeking and picking up stitches to knit button bands. Or you could use multiple contrast colors in the yoke for a more colorful sweater. There’s a lot of possibility there. Seeing the modifications that creative knitters make is one of my favorite parts of publishing patterns!

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JF: Are there any specific details in the pattern that you might like to point out to our readers? Anything that might not be immediately obvious from looking at the photos? 

DW: Like many of my designs, Sundottir is completely seamless, right down to the underarms. Everything is worked in the round, and when the knitting is done, the underarm stitches are grafted together using Kitchener stitch (there are instructions in the pattern for those who haven’t used Kitchener before). Fit-wise, one of the differences between the pattern and my original prototype was the addition of short row shaping to dip the yoke in the front, so that the neckline fits more comfortably.

JF: You live and work in Seattle, Washington – are you a native or a transplant? 

DW: I’m a transplant! I grew up in North Carolina and moved out here in 2009.

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JF: How does the weather and lifestyle of the city affect your design work?

DW: In general, I love the weather and the lifestyle of this city, and I can definitely see it influence my work. For one thing, some years you can wear wool year round!

JF: As a Washington native, I sometimes miss that! 

DW: Like many people in this city, I tend to gravitate toward clothing that’s practical and functional, and I see that in my knitwear, but I also want it to look good, too. I design things I’d want to knit for myself, because that’s how I got started, so I’m always thinking about how I’ll actually wear or use a design. I’m not always designing things I could wear on my bike commute to work in the rain, but it’s nice when my design work does fit that bill.

Being in Seattle keeps the Scandinavian influence up front, as well, because that’s a big part of this city’s history. There were so many Scandinavian immigrants to this city and this part of the world. My studio is in Ballard, which was historically the Scandinavian neighborhood, just down the road from the Nordic Heritage Museum (which puts on the Nordic Knitting Conference every two years). There’s a parade every year for Syttende Mai, Norway’s Constitution Day, and it’s the biggest one outside of Norway. Being in a community with that kind of heritage means I’m always thinking about it.

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JF: What was your dream job as a child? 

DW: I grew up in classical ballet and for a long time I wanted to do that professionally. I still take classes, from time to time, but I got really burned out by the end of high school. I think I gave up on that dream around the time I started high school, actually, which was around the same time I hit six feet in height. Most ballerinas aren’t anywhere near that tall, which makes it hard to be in a corps de ballet. I think I always had an internal struggle between my creative side and wanting to pursue creative pursuits on the one side and going a much more straight-laced stable route on the other. My mother has certainly always supported my creative pursuits – she started my hometown’s city arts program – but she also encouraged routes that would lead to more financial stability than a career in the arts. That’s a struggle that I still feel sometimes.

JF: This has been great – thanks for taking the time to chat a bit this morning, Dianna!

DW: Thank you for the opportunity! I’m truly honored to be a part of the collection.

Spring came, unapologetically, and I’ve been doing my darnedest to enjoy it while I can. In New York, if you don’t look hard, you’ll miss the Spring altogether, and I’m not looking forward to having to employ my air conditioner in order to knit. (I’ll do it, but grudgingly.)

So I’ve thrown open all the windows and spent the week enjoying sunlight and the fresh smelling air and zoning out on some mindless knitting. Night after night its been stripe after stripe of Noro and you know what? It’s been wonderful. I’m finishing up my fourth ball of yarn and I’m still happy watching the colors change both inside (in my knitting) and outside (spring!). Not to mention the million-dollar light that has been pouring in through the windows every afternoon.

In many cases I’d consider this a knitting lull, but it isn’t. When I need something more than meditative, I’ve got my new sweater at the ready, although that too is growing organically and without hurry.

My New Sweater
The sweater you see here is (the start of) Scott from RYC Classic Winter. The pattern is pretty fussy, in my opinion, so I’m making some pretty broad simplifications (mine will be completely seamless, and as a result, so much less stressful). Some super-soft, chunky colorwork in nice muted colors is just what the doctor ordered for relaxing window-side on the couch. And for the record, the yarn is as light as air.

I’m sure it’s just a matter of time before the intensity will kick back up again, but for now I’m gonna zen-out with my needles and relax. Have a great weekend.

I’m happy to report that I’m knitting for pleasure full-time again. The last couple of months have been a little dicey with some extra-curricular knitting , but I’m safely back on the fast track to a more relaxed (deadline free) knitting schedule, at least for the time being.

This weekend I’ll be zoning out on stockinette and getting reacquainted with The Swisher.

Stripes make a comeback

I love picking up an in-progress project after its fallen off the radar for a few months. In a way, it seems brand new again – this time there’s only half a sweater to knit, though. Kind of feels like cheating.

Don’t mind me, I’ll be the one happily knitting in the corner.

Until next time.

The project that has served most useful to me this winter is, hands down, Red-Light-Special. I loved it even before the vindictive cold snap hit, but over the last few blustery weeks we’ve become inseparable. The stranded fabric + the extra ear lining keeps my ears very happy when the winter winds whipping up Columbus attempt to ruin me on my morning walks to work.

You Keep Me Warm

I didn’t realize how toasty this thing was until I put an older, single-layer knit hat on my head when I went out the other day and experienced very questionable protection from the cold.

Why am I telling you this? Mostly because I want to introduce some of the other wonderful versions of the pattern that have been cropping up around the internet. It’s such a wonderful thing to see each one done in colors that suit the individual knitter. I’m endlessly entertained by all the color experimentation.

This month I started a Red Light Flickr Group in hopes to gather together as many of our RLS (finished or in-progress) images as possible. Below you see some of the wonderful versions of the hat that have been completed by knitters all over the country (and world! Thanks, Sigga!).

Red Light Special Red Light Special Winter Wonderland Hat Karen's Red Light Special Red light special in blue Red Light Special

If you’ve made one, or are currently, and you’re a flickr member (or junkie, like me) please join the group! If you’re not a part of flickr but want to share your photos, please send them to me via e-mail and I’ll post them for you.

On top of all this, the wonderful folks at Noeknit in San Francisco even used the pattern for their beginner Fair Isle Course, and the results are wonderfully creative. To say I was flattered would be an understatement. Check out the in-progress shots from their class here. Also, be sure to see the most recent blog posts for a few finished RLS shots. I love all the color combinations that everyone has come up with. Thanks to Noeknit for the great inspiration.

And thanks again for everyone who has sent in finished pics, I’ve really enjoyed seeing everyone’s individual take on the pattern.

I always love to read about finished knits – when something is fresh off the needles and takes its final shape, it’s a great moment. You can get a full summary of the process, complete with frustrating details and lessons learned, with the knowledge that in the end everything turned out great (or at least good enough, I believe we always take something away from our process, even if its not a ‘wearable’ garment). Its unfortunate that after the big ‘show-and-tell’ is done, the piece falls out of our (readers) collective consciousness. That’s just the nature of knitblogging I guess. For the lucky knitter who finished something wonderful, though, they get to enjoy their garment for months (and if the wool is a quality one, years) to come.

I love seeing hints of past projects popping up in current blog photos – a piece of your knitted past cropping up in the background or someone wearing an old FO nonchalantly now that the excitement of the finish has past. I like to place old knits in the background of my photos from time to time (sometimes some of you notice). In this vein, I really love the idea of project re-visits, months or years after the item was knitted. This year I’d like to work a little bit to revisit some of my old favorites and update you on how they’ve been wearing. I think its a great way of reviewing pattern, yarn, and design – all being important factors in our future project decisions. So today we start the re-visit program with one of my favorite knits from 2006:

Komi Mittens

These are Komi Mittens by Charlene Schurch from her wonderful book Mostly Mittens: Traditional Knitting Patterns from Russia’s Komi People*, knit last winter. It was my first real stranded knitting project and the one that got me hooked. The detailed post is here.

These have seen a lot of wear, especially in the last couple of months – not by me (I’m not a huge mitten fan), but by another on-the-go-New-Yorker type, and I figured it was time to put them back under the magnifying glass. The yarn is ‘Palette‘ from KnitPicks. A fingering weight Peruvian wool that comes in a pretty basic palette (haha) and lends itself well to colorwork mittens, socks, hats, and if you have a crazy amount of time on your hands, sweaters. For the price, you can’t beat this one, especially if you’re searching for a basic color representation and relatively solid wool (the project cost was under $4.00 after all). I was mostly curious about how this yarn would hold up over time, and as I report at this point, its done pretty well. There is a bit of pilling, but its a rather “clean” pill that is easily shaved. You can see some of the pilly halo on the edges of the mittens in the above picture. These were shot last weekend and have had no shaving done to them whatsoever since their origin.

Komi In Your Face
This is what happens when the photographer’s patience outlasts the model’s

Pattern and designer I regard very highly, in fact, Ms. Schurch is the reason I would like to bring these mittens to your attention once again. Charlene has produced many wonderful books, Mostly Mittens and Hats On! being two of my favorites. Sock Knitters, I’m sure you’re familiar with Sensational Knitted Socks, another one of hers. If you like colorwork and have a veritable weakness for traditional knits (that you can surely spin for a more contemporary look) as I do, I think you would definitely benefit from having a look at these books. At least check your library, they seem to be well stocked, at least in the libraries I’ve checked.

I’ve had the itch to get some fingering-weight stranded gloves on my needles. I greatly enjoy colorwork in general, but there’s something ultra satisfying about working it in fingering weight on US1′s. Therefore, I loved knitting the mittens, but as I mentioned above, I can’t deal with actually wearing them. I’m too annoyed by the loss of finger mobility. It feels too much like a puppet show, and I don’t know about you, but puppets kinda freak me out.

Komi Surprise

*This book also masquerades by another name: Knitting Marvelous Mittens: Ethnic Knitting Designs from Russia. I believe this is the newer edition. From what I can tell, the contents (patterns) are exactly the same.