If you've ever noticed a sloppy column of stitches after your cables, those are ladders.  Besides being unattractive, they can cause problems with your knitting including gauge.  I was so honored to write the technical article in Interweave Knits Winter 20/21 issue, "Controlling Ladders When Working Cables."  If you have your issue of the magazine, look for the article (and enjoy the different gothic patterns in this issue).  

Covid has left many knitters relying on the internet to pick out yarn for their next project.  Many local yarn shops that are not currently open to the public due to the pandemic, do have websites where you can order yarn for curbside pick up or delivery.  If you are buying a yarn you know and love, the process can be convenient.  If you're picking out colors for Fair Isle or stranded work, it can be a nightmare.

I'm here to share with you a great way to make sure the colors you select have sufficient contrast.  Contrast in colors refers to difference in light between the foreground and background, or in the case of knitting, the pattern and the background.  Fair Isle bands are either light on dark, meaning a light colored pattern on a dark background; or dark on light meaning a dark pattern on a light background.  

1.  If you're looking at a website from your phone,  pick out the yarns you think you want, then take a screen shot of each one. 
2.  Using an app like LAYOUT, you can pull the pictures you just took into the app so you can see them in a group, or side by side.  This will create one picture of all of the screen shots. 
3.  Click on the photo, hit EDIT, then go to filters (on an iPhone it's the three circles that overlap) and apply a black and white filter.  This strips away all of the colors and allows you to look at just the contrast.  You want sufficient contrast between the colors so that the pattern looks attractive to the eye. 

Yarns that are too close in value, without enough contrast will not look their best.  In Fair Isle, you should be able to see your pattern in black and white. If the bands look like a completely white band or completely black band, then the colors won't work.  Some colors are deeper than others and more saturated and that's good.  Not all colors need to have the same intensity, but you should be able to tell them apart.  

This also allows you to group your colors into light or dark.  In the Milan Hill Mitts, 4 colors are used: 2 dark colors and 2 light colors.  Each band uses only 2 colors and it features either a light on dark pattern or dark on light.  The photo to the left is the mitt and to the right is the same mitt with a black and white filter applied.

You'll notice on the right picture, that each of the pattern yarns can be seen, some stronger than others, but they can be seen.  By looking at your colors in black and white, you can more easily match them up to a pattern's color key.  

In the Milan Hill Fingerless Mitts below, the yarns used are Morehouse Farm Merino 2-ply sport weight in the following colors:
Bright/darker blue is Pacific (color A) dark
Oatmeal (color B) light
Chocolate (color C) dark
Aqua (color D) light

When you hold Oatmeal and Aqua next to each other and take a picture, they come out looking exactly the same, like two skeins of white yarn.  So you can use these, just not together in one band.  

If you are in a yarn shop, gather your yarns and take a picture of them side by side.  Apply the filter and see how it looks!  Hopefully this will help you make sharp color choices, so when your yarn arrives in the mail it's perfectly contrasting for your next Fair Isle Project.  To find out more about the Milan Hill Fingerless Mitts, click on this link.  <Milan Hill Mitts>

Picture this…
Someone wants to learn to knit.  They pick out a yarn, needles and an easy pattern for a scarf.  They start to knit, they get the hang of it, now it’s getting easier, then it’s pushed aside because it’s boring. So much for knitting. 

Has this happened to you or someone you know?  Do you have works in progress that are sitting aside, waiting to be finished?  I’ve been knitting my whole life, and I have to tell you, that it’s like root canal for me to knit a stockinette sweater.  Whether you crave challenges or have a short attention span, it’s important to understand what type of knitter you are. 

I asked a very social knitter friend recently if she wanted to knit a sample for me and she asked “It isn’t going to be one of those patterns where I have to look at the chart is it?” 

I took a step back and thought about her personality.  She knits in circles of friends and talks.  She knits with one eye on her toddler and jumps up every 10 minutes to do something.  She knits beautiful work but her knitting style is different from mine.  She wants to come back to her knitting and squeeze in another 10 minutes of knitting without having to think about where she is in the pattern. 
 
I don’t knit like that.  I knit for long stretches at a time.  I love to knit in the evenings when watching a movie (a good British murder movie even better).  I don’t need to keep my eyes peeled to the screen.  I can glance from TV to chart and understand both the movie and my knitting.  It quiets that fidgety feeling that I get when sitting still.  My hands are moving, my mind is working, and I’m engrossed in a good plot (hopefully).   When I struggle, is when I'm working the same stitch over and over again, without any diversions. No shaping, no color change, no stitch change, just monotony.  

There is a type of knitting for everyone and every scenario.   There are times when you need a smaller project, for traveling for example.  But it’s helpful to think about what type of experience the knitting project is going to provide before you decide.

I’ve been giving the psychology of knitting a lot of thought lately.  I designed St. Kilda with this in mind.  I put the exciting, fun, Fair Isle color work at the beginning, the hem, then when the fun part was over the sweater transitions to Stockinette so you can finish it up quickly before moving on the Fair Isle cuffs of the sleeves. 
I found great enjoyment in working this type of Jekyll and Hyde project.  My next application was the Melk Abbey Cardigan.  With a lacey hem (that is easily memorized), the pattern changes to a combination of cables and openwork on the body but stops midway up (because we don’t want to get bored now do we?) and switches for the rest of the body.  The pattern change holds the interest of the knitter and it ends up coming together quickly.
 
A yarn shop owner once told me “who wants to knit a sweater that you can buy on the rack at Kohls?”   I think about that all of the time!   There are basic sweaters that you enjoy wearing, but you don’t want to knit them.  I love my little black Stockinette cardigan.  I wear it over sleeveless dresses most of the summer, but I don't have the willpower to knit it. 

I’m very much a process knitter.  Don’t get me wrong, the finished product has to be amazing!  It has to fit into my wardrobe and be artistic, intricate and creative.  But it’s that “intricate” part that is necessary in keeping me engaged through the process.
 
I challenge you to do a little self-analysis about your personality.  Then think back to past knitting projects.  Which have you enjoyed the most?  Which ones are the most gratifying?  Which ones are you actually getting some use out of?  If you think knitting shawls is fun, but your closet has a few finished shawls folded nicely and never worn, were they really that gratifying in the end?  What excites you when you knit?  Put this self-awareness into action when you pick out your next knitting project and see how it goes for you.  Knitting is so versatile, just like knitters.  You are unique and the process that you bring to your knitting is yours alone. 
 
“Know thyself.”  Thales of Miletus

There are so many ways to remove stitches in knitting, and the end result is dramatically different when you're using the Central Double Decreases.  Take a look at each technique below.

Central Double Decreases are often used with the front ribbing of V-neck sweaters, to shape the crown of a hat, and in lace knitting. 

When working a Central Double Decreases (CDD) as shown in image A, a column of knit stitches form along the center with the decreases neatly tucked under the center vertical line.  This is most often used when working V-necks or hats.  The effect looks unchallenged with minimal disruption to the pattern visually.  Hats will be seen from the top with straight lines pointing towards the center, instead of a pinwheel effect that often occurs with a series of regular left or right slanting decreases.  If you use this method in lace knitting, it will not be as attractive or eye catching, but it will serve the purpose of balancing out your stitch counts.  

When working the decrease as shown in image B, the center vertical line runs under the decrease stitches from both the left and right.  This is the one most often used in lace.  When spaced several rows apart, this gives the illusion that the center row weaves above and below the decreases.  The decrease forms a left slanting decrease which folds over onto the center line and the vertical line is broken.  This chopped appearance makes the eye pull to the decreases rather than to the center line and is most often used with working the decrease in connection with yarn overs as in lace knitting. 

Each decrease is attractive in its own right, but they look totally different.  For artistic purposes, you would decide whether you wanted a straight line or these little slanted tucks along the decrease line. 

The next time you're working a pattern that calls for a central double decrease, look at the abbreviation or glossary to find out the method being used.  You can use either method interchangeably without affecting the instructions or stitch count.  You will work up to the first stitch of the three stitches that you want to decrease into one stitch, then work the method you prefer.   
 
References:
Buss, Katharina.  Big Book of Knitting.  New York, NY:  Sterling Publishing Co., 2001.

Holladay, Arenda.  Blog “Double Decreases.”  Arendaholladay.com.  13JUL12. <http://www.arendaholladay.com/2012/07/it-has-been-unpleasant-week-which-began.html>;

Starmore, Alice.  Alice Starmore’s Book of Fair Isle Knitting.  Newton, CT:  The Taunton Press, 1988.  

 I’ll share with you my favorite method for sewing on buttons to a sweater & some tips for making it perfect!
 
1.  After all of the knitting is completed, block the garment, weave in ends, lay it on a flat surface and place split ring markers where you want each button to go.  Start by laying the button hole band on top and marking each hole on the band underneath.  Then flop the button hole band out of the way and use a tape measure to measure the distance between the center of each button.  Make adjustments here so they are evenly spaced.
 
2. Measure out a piece of yarn (the same that used for the buttonband usually works fine) about 2 times the length of the buttonband. 

TIP 1    Shank buttons are a knitter’s best friend.  Shank buttons with a metal or plastic loop sticking out of the back of the button, can be pushed in between stitches so it protrudes out on the WS, making it super easy to catch. 
 
3.  With WS facing, use a thin tapestry needle and weave in the end over the first inch or so into the band seam so the end is flush with the seam. [photo 1]
 
TIP 2    If you’re using thick yarn and you have small buttonholes, you will need to:
     *  Use the thinnest tapestry needle you can find, or
     *  Use a sewing needle and split the yarn so you are only using 2 plies, or   
     *  Change buttons to a shank button which will accommodate a larger needle  

4.  Weave yarn from the side seam towards the middle of the band to the spot for the first button. 

5.  *Insert tapestry needle through a stitch, then through the shank or button holes and through another stitch on the other side and pull yarn through loosely, just enough to hold the button in place without it slipping away.   Don’t tighten it up yet.  Rep from * but this time tug yarn firmly to secure button to fabric.  [photo 2].

6.  Weave yarn across band to the seam, spiral weave it up the seam until you reach the height for the next button then weave into the spot where you want your button. 
 
TIP 3  Make sure the spiral weave has some give to it so it doesn’t change the lay of the band.  You don’t want a tight piece of yarn running the length of the garment.  It should mimic the flexibility of the fabric.  Since you’re only using the seam as  place to carry the yarn, you don’t need to go into every stitch.  Just spiral it around stitches so that there are no long pieces and it looks tidy. 
 
7.  Continue working this way until all buttons are sewn on.  After the last button is finished, weave back to the seam, weave in the last of the yarn tail and cut excess yarn.  [photo 3].

I hope you like this method. It definitely save time cutting and weaving in ends, it's sturdier and takes less loops than using thread, and the back looks tidy and almost invisible.  

I'd love to hear what you think or if you have a different favorite method!

Donna

Join me on You Tube for a few quick tricks to make sure your next mosaic or slip stitch knitting project turns out smooth and even.  

​

If you've knit a sweater with saddles, there are times when the saddle is worked separately or as an extension of a sleeve and needs to be sewn to the back and front of the sweater.  Since this is a very visible area, and since the saddle is an interesting design element, the eye gravitates to the line between the saddle and rest of the sweater.  Yes, that line is the seam.  To have your seam look its best, it is important that your calculations for seaming are even, consistent and correct so that the saddle lies flat.

Before seaming, place the pieces with the saddle on top and the front or back below it.  Stretch the saddle just slightly so it fits well without bunching up. 

1.  Count the number of rows in the saddle.  In the photo below there are 23 rows. 

2.  Count the number of stitches that fall within the saddle (the area that is to be seamed).  In this case there are 17 sts. 

3.  The difference is 6 rows.  This means that when you are seaming, you will need to seam one stitch to 2 rows (or go under 2 bars when using Mattress stitch ) 6 times.  To find a good ratio, divide the number of stitches by the difference.  In this case it is 2.83.  So for every 2.8 sts you'll want to seam 2 rows or about 2 rows every 2 or 3 stitches.  Just bounce back between 2 and 3 to find a middle meeting ground.  If you had an even number, like 3, you would seam one stitch to one row twice, then on the third stitch you would go under 2 bars.   For our 2.8 example, here is one example of a working sequence:
1 st =  1 bar
1 st = 1 bar
1 st = 2 bars
1 st = 1 bar
1 st = 2 bar
5 sts = 7 bars or 7 rows.  Continuing to repeat this sequence gives you
10 sts = 14 bars
15 sts = 21 bars. then work the top two again for a grand total of:
17 sts = 23 bars

If you play around with your sequence you can increase or decreases the numbers.  For example if we use:
1 st =  1 bar
1 st = 2 bars
1 st = 1 bar
1 st = 1 bar
1 st = 2 bar
5 sts = 7 bars or 7 rows.  Continuing to repeat this sequence gives you
10 sts = 14 bars
15 sts = 21 bars. then work the top two again for a grand total of:
17 sts = 24 bars

As a general rule, MOST of the time, you can use a ratio of 5:6 or 5:7,  Meaning 5 stitches for every 6 bars or 5 stitches for every 7 bars.  For a 5:6 ratio, use 1 stitch to 1 bar 4 times then on the 5th stitch, go under 2 bars. 

You could simply use your stitch gauge per inch and your row gauge per inch for seaming larger areas.  But for a saddle, it's easy enough to count the exact number of stitches and rows being used for a more exact sequence.  

So now that you know how many bars to go under for each stitch, here's how you do it:

1.  Bottom piece:  Insert tapestry needle down into the center of the first stitch, and come up through the center of the V of the second stitch.  
2.  Top piece:  Insert tapestry needle under the first bar.
3.  Return to bottom piece:  Insert tapestry needle down in the center of the second stitch through the exact same place you came out of on step 1, and come up through the center of the V of the next stitch.
4.  Top piece:  Insert tapestry needle into the exact space that you came out of, go under two bars and pull yarn through.  Continue to toggle between top and bottom pieces, following your sequence.  

The stitch that you're going into on the bottom piece, is the center of the first V below the bind off edge.  So the entire bind off stitch remains inside the seam.  The bar that you're picking up on the top piece, is the bar that runs between the first and second stitch, so that the entire column of first stitches remains inside the seam.  This ensures that the seam will hold and will not gap open.

Once finished, you will have maintained an even sequence across the seam.  The saddle will lie flat and the front/back will lie flat.  There will be no pulling or bunching of either piece and the seam will look nice and uniform.  It's a seam that will make you proud!

References: 
Buss, Katharina.  Big Book of Knitting.  New York, NY:  Sterling Publishing Co., 2001.

Holladay, Arenda.  “Seams – Part 3”  Cast On Feb-Apr 2009:  pp. 64-66.

When you need a flexible cast on that stretches and moves with your fabric and still looks tidy, the Picot Chain Cast On is a great one to know!  When you're working with lace or decreases that are aligned, the fabric pulls in, tapering to a smaller size.  As it does this, it causes the cast on to flare out in order to adjust for the center row of decreases which will push downwards as the sides angle inwards. You'll find this when working Herringbone stitch too, or any stitch pattern where decreases are stacked.  

This cast on is also good for top down sweaters that need to stretch over your head, yet bounce back into place for a good fit.  

Here's how to do it:

Set up:

• Form a slipknot with 6” tail on LH needle.  Knit one stitch but leave it on the needle. 
• Turn RH needle clockwise, insert tip of LH needle into the loop from left to right, and slip the stitch to LH needle.   

Working Steps:

• With yarn in front, slip 1 stitch purlwise from LH to RH needle, and knit next stitch on LH needle (this creates a yarn over to the right of the stitch you just slipped).  With your thumb, hold this yarn over in place, to the far right, with the same amount of space between the slipped stitch and the yarn over.   The stitches will be lined up from right to left as follows:  yarn over, slipped stitch, knit stitch.
• Lift the slipped stitch (lies in the middle) over the knit st and off needle.  Turn work.

Repeat last 2 steps until the number of loops along one side equals the number of stitches to be CO. 

These steps form a loop on one side, then you turn and they form a loop on the other side.  Once you have the correct number of stitches to be cast on on one side, stop.  Don’t make the corresponding loop on the other side.  The last remaining stitch left on the needle will become your first CO stitch.

Next:

• Slip 1 stitch purlwise from LH to RH needle, move yarn to back, knit the next stitch on LH needle, lift the slipped stitch over the knit stitch and off needle.  One stitch remains on needle.  

Your cast on is almost done!  Now you just need to place the stitches properly on your needle so you can begin to knit.  

• Turn work on its side, with the side holding one less loop facing up.
• Insert tip of RH needle from front to back through the 1st picot loop and knit through this loop.  Continue picking up and knitting 1 stitch in each loop.    Now you're ready to work from your pattern.  

You can see how this cast on just flows around the edge without tightness.  Yet it's not too "loud".  It's a neat stretchy cast on with so many pretty uses.
 

If you love knitting with circular needles, you'll soon find that you have your own collection of needles that can become unruly.  Circular needles can be substituted for straight needles with the added advantage of being able to move stitches off either end.  They are so versatile that I've (almost) retired my straight needles.  

If you open them from their store package, and drape them into a needle holder, like Della Q's Hanging Circular Needle Organizer (pictured below), you'll be able to see the needle size easily.  The organizers hold needles in 21 individual pockets, labeled in US and Metric sizes, ranging from US 000 - 17 / 1.5mm - 12mm.  There is a bottom zippered section which I love to tuck in my metal Susan Bates Knit Check so I can measure the size of the needles that fall out, which they sometimes do if you have more than one needle in a slot.  I have several size 6 needles in varying lengths and it always seems to be that 12" needle that falls to the floor when I'm pulling out my longer ones.  Plus, if you're tired and just before heading to bed you put up your needles of the project you stayed up to finish, you might (just might) slip it in the wrong pocket so having a knit check handy is important.  In order for this system to work, you need to have a visible, handy place to hang your organizer.  And just know that it will not look as nice as this picture once it's full of needles.   These organizers allow you to hang different length needles in the same pocket, but do not have a way of listing or labeling the lengths (aside from what's printed on the side of the needle...which wears off in time).

There are advantages to storing them in the original packaging (pictured below).  They are easy to store and you can stand them up in a box, bin, or hanging file in a drawer.  The size is clearly marked on the packaging along with the length!  Sometimes it is difficult to guess the length of a needle and you may not always have a tape measure handy.  If you want to be able to quickly, and exactly know the length of a needle, keeping it in the original packaging is the way to go.  And most brands make the packets easy to open and close.  One problem with this system, is that the needles are usually curled twice to fit into the small packet.  So when you open them, they stay curled.  This can make knitting cumbersome and fiddly, especially if the ends keep flopping about, or the unused portion of the cable decides to twist on itself.  To straighten the needles, fill a sink with hot water and hold the needles at each join, where the metal or wooden tip meets the plastic cord.  Keep your fingers over the join so water doesn't reach the wood or metal, and immerse the plastic cord in the water.  Keep a bit of tension on the needles so that they are straight.  The water will soften the cord a bit, removing memory from the curled packaging.  (This works better with some brands than others.)

Lastly, you can store them in a Ziploc freezer bag (which is a little firmer than the regular plastic bags so it stands up nicely).  This is a good system if you've lost your original packaging, or you want a larger bag to use instead of the small original packaging.  This allows the needles to curl less and gives them more room.  And you can store more than one needle inside each bag to combine varying lengths if you don't mind the lengths not being labeled.  All of the bags can be placed in a box, plastic or cloth bin, tray or hole punched and stored in a three ring binder.  

I hope this has given you some ideas for storing and taming unruly circulars.  If you have a storage or taming idea please leave it in the comments - I'd love to hear it!  Happy Knitting!

This is a beautiful little cast on with a LONG list of attributes:  it's durable, flexible, expandable and attractive.  Either side can be used as the right side and the knots look great if you're working in Reversed Stockinette.  It's not an "exact" cast on either since if you cast on too many stitches, you can just drop any extra stitches at the end of the first row.  Like all cast ons, there are trade offs, so you need to be mindful that this cast on can widen and tension can be hard to maintain.  It's not good for ribbing, it's slow going, and you'll need to space between knots carefully.  But your efforts will be rewarded with a neat little row of "knots" that create a nice edge. 

Use the Guernsey Cast On for sweaters and the bottom edges of garments worked in Stockinette.  You can substitute this for most any cast on (except tubular or provisional) and you'll cast on the same number of stitches as you normally would with a basic long tail cast on.

So here's how you do it!  

• With needles 3-4 sizes smaller than rest of project, make a slipknot on the needle, leaving a 6” tail.  Hold the slipknot and needle in your right hand and working yarn in your left hand. 
• Wrap the working end of the yarn around your left thumb from front to back.  Catch the front thumb strand by placing needle to the left of the strand, going under it, scooping it up and sliding the loop onto the needle.  Tighten.
• With tip of other needle, pass slipknot over cast on stitch and off needle. 

• Cast on 2 more stitches as in step 2. 
• With other needle, lift 2nd stitch from the needle tip over the last stitch and off the needle.  Pull yarn snug until the same amount of space exists between each stitch and the knots are the same size.

• Repeat last 2 steps until all stitches are cast on.

Either side may be used as the right side.  After casting on, if you work  the first row normally, the stitches will be twisted, providing a firmer edge.  If you knit or purl through the back loop they will be oriented properly.  With the knots along the cast on edge, a firm edge is obtained whether your stitches are twisted on that first row or not. 

I hope you enjoy this one and give your next project an artistic detail that holds up well.