Options for Working Collars
Collars can lie flat, flop over, stand up, or wrap around the neck. They can be worked as an extension of the body, picked up and worked at the end, or knitted entirely on their own and sewed onto the finished neckline. Each method serves a different purpose and has advantages and drawbacks.
 
Collars worked as an extension of the body are the simplest as you just continue knitting from the body. These are most commonly found on sailors’ collars where you continue knitting each front half and the back 8-12” higher than the neckline then bind off. When the shoulders are sewn together the excess folds over and lies on the body like a blanket of extra fabric. You will also see this on shawl collars from deep V-neck cardigans .  These are simple but do not provide stability. They have a tendency to open up the neckline and allow the garment to pull down the shoulders.
 
Collars that are picked up around a finished neckline create a flexible join at the body with little bulk. This is the most commonly-used technique. The front and back necklines are worked as you normally would by binding off and decreasing stitches until the shaping is finished. After the pieces are blocked, and shoulders joined, stitches are picked up around the neckline and the collar is worked from the base of the neckline out to the desired length, then all stitches are bound off.
 
Collars can also be knitted as a separate piece, then sewn on which adds stability and is good if you have a heavy or bulky collar since you can avoid struggling to flip and move the entire garment. The neckline however will be more rigid and the pieces will need to match exactly to prevent one from being stretched or gathering/bunching.  You'll cast on the same number stitches that you normally would have picked up.
 
Structure        
The collar stitch needs to have substance in order to hold the collar or lapel in place. Ribbing, Seed stitch, Moss stitch, Garter stitch, or another heavily textured pattern all allow the collar to lie flat. If you are using a stitch that tends to curl, you will need the support of a hem or facing. If you are working the collar as an extension of the knitting, you do not need to use the same stitch pattern. You can knit to a certain point, then change to a new stitch pattern for the portion that will become the collar. A cabled sweater with a Moss Stitch collar is gorgeous and easy to do. This is useful when working a vertical shawl collar on a cardigan for example.
 
Fit
The best fitting collars follow the shape of the neckline. It is for this reason that so many collars are worked by picking up stitches around the neckline. When you use a proper ratio for picking up stitches, the added collar will fit into the neck without stretching or bunching either of the fabrics. Another tip for a perfect fit, is to raise the back of the collar so it sits up a bit higher than the front. This keeps the collar from pulling and allows it to cover the neck effortlessly. You do this by working short rows along the beck neck at the base of the collar for 1-2” rise for short collars and up to 4” or more for large shawl collars. For fold-over collars, in order to achieve a good fit and adequate coverage, you will need to knit more than double the width desired. If you want a 3” collar that folds over and you knit 6”, you will lose some in the curved fold. This will prevent the folded portion from completely covering the join to the body so to completely cover the join, you’ll want to knit closer to 8”.
 
Shaping the Collar Points
Collar points should spread evenly without pulling. They should look natural when lying flat and should not be stiff with a tendency to curl. If you have picked up stitches along a neckline, work short rows for the back neck if desired, then increase stitches at the beginning and end of the rows until the collar length is reached. Then bind off. A good formula to use is to increase one stitch at the end of every 4th row. This allows the collar to lie flat and form a good shape. If you are knitting the collar separately then sewing it on, a bit more planning is required. You will need to calculate the number of stitches necessary for the collar at the neckline edge, then add stitches for the shaping at the tips, which are going to be decreased back out. If your collar overlaps at the front, figure on at least 2” for a tidy, narrow overlap and up to 8-9” for something more pronounced. If you have swatches, hold them on top of each other to simulate an overlap to get a good idea of the best overlap width for the weight of yarn and stitch pattern you’re using.
 
Shaping a Collar
Larger collars like shawl type collars or cowls, benefit from being widened as you knit. This allows the collar to gather, drape or lie properly. A very high collar, like a turtleneck,  is the same circumference at the base of the neck and bind off, and has a tendency to stand up. If you want drape or folds, then widen it as you go. The best way to widen a collar and maintain the established stitch pattern is to switch to a larger needle. If you are working a shawl type collar, you will pick up stitches and work back and forth in rows to the desired length, then switch to a larger needle and work 1-2” to create fullness. On cowls, use circular needles and pick up stitches around the neckline, work to the desired height, change to a larger needle, work 1-2”, then change to a larger needle again and work another 1-2” and continue increasing until you’re ready to bind off.
 
 
The second method is to use increases evenly around. If you're using 2x2 Rib, you can increase one stitch evenly around then work in 2x3 Rib for an inch, then increase again and work in 2x4 Rib. It does not work with every stitch pattern as some will become distorted with increases. In the below collar, you’ll notice that the ribs are the same, but the increases were made into the purl stitches between each rib for a more subtle look.

Design Elements
A collar adds weight and this stress is felt at the neckline. The larger or heavier the collar the more stability you will need here. If you are working with a very large collar, pair it with a narrow neck width to prevent a sagging neckline. In order to slip the garment over the head easily, pair tight collars with wider neck widths. For an artistic effect, consider working the collar in a different color, different yarn or unusual stitch pattern. Collars don’t always need to open in the front. Try a back-opening collar or a side split collar. Instead of working completely around the neck at the base, start at the side and work back and forth in rows to create a split collar, then use buttons to let the wearer adjust the amount of coverage they want.
 
 
Technical Tips
Do attach or work the collar after joining the shoulder seams.
 
Select reversible stitch patterns for collars that will be visible from each side.
 
Use heavier yarns to create thick, wide, fold over collars so they will maintain their shape.
 
For drapey collars, select a fine yarn in a fiber blend that provides good drape.
 
Attaching the Collar
Picking up stitches: When you pick up stitches with the right side facing, the ridge will be to the inside of the sweater. Be careful though that the collar does not open to reveal the inside of the neck. If it does, you will want to pick up stitches with WS facing so that the pick up edge is concealed under the collar.
 
Sewn on collar: If both sides will be seen, such as with a collar that can be worn standing up or folded over, it’s preferred to knit the collar separately, then use a whipstitch to sew it to the neckline so no seam shows.
 
Many patterns can be modified to change the type of collar without interfering with the basic sweater pattern or shaping. You have probably already done this without giving it too much thought. A turtleneck sweater can easily be changed to a crew neck by knitting to a shorter length. Branch out and try a side split neck, a cowl, or change a basic ribbed V-neck to a fold over shawl. Before working a crew neck, consider adding a peter pan collar. For an example of a modified V-neck with squared bottom and fold over shawl collar, see the Appalachian Pullover in this issue.​

References
 
Buss, Katharina. Big Book of Knitting. New York, NY:  Sterling Publishing Co., 2001.
 
Hiatt, June Hemmons. The Principles of Knitting. New York, NY:  Simon & Schuster, 1988.
 
Koester, A.W. and Bryant, N.O. Fashion Terms and Styles for Women’s Garments. Corvalis, OR; Oregon State University Extension Service, 1991.
 
Newton, Deborah. Designing Knitwear. Newtown, CT:  The Taunton Press, 1992.
 
Newton, Deborah. Finishing School, Master Class for Knitters. New York, NY: Sixth & Spring Books, 2011.
 
Paden, Shirley. Knitwear Design Workshop. Loveland, CO:  Interweave Press, LLC, 2009.
 
Tortora, Phyllis and Keiser, Sandra. The Fairchild Books Dictionary of Fashion 4th Ed. New York, NY: Bloomsbury Publishing, Inc., 2014.
 
Vogue Magazine Editors. Vogue Knitting. New York, NY:  Sixth & Spring Books, 2002. 
​

Knitting patterns often tell us to pick up stitches but never tell us how.  If you pick up a stitch in the right place, at the right interval, your knitting will look polished and professionally finished, but a poor pick up can cause uneven additions that don’t fit well with the main body of knitting.
 
Stitches are picked up along an edge of knitting when you want to knit a supplemental piece to the body.  This is done for neckbands, cardigan front bands, edges of a rectangular shawl, and armholes as examples.  
 
Our goal when picking up stitches is to have each piece of fabric lie flat.  The main body should not become distorted by the addition.  And the addition should not be wavy or stretched.  They both should lie flat and look as one piece of fabric.  What to look for as you’re inserting your needle and picking up a stitch:

• Make sure the join between the picked up stitches and the edge is even

• That the stitches are lined up properly
• There are no holes
• There are no distorted stitches

 
There are 3 edges that you can pick up stitches.  Horizontal, Vertical and Diagonal. 

On horizontal edges, avoid inserting your needle in between stitches, resulting in the dreaded 11’s.  This pulls stitches together and creates a line of 11’s across the edge of your fabric.  

The correct way to pick up stitches on a horizontal edge, is to insert your needle into the center of the stitch, or the center of the V.  For the first stitch, this column of first stitches will always be wobbly looking.  Insert needle into the center, just below the bind off edge.  If you mistakenly go into the row below, you’ll end up with a thick seam which can be visible on narrowly trimmed necklines and unnecessarily thick.  So you want to go through the stitch that lies just under the BO edge.
 
You can see in the picture below how the stitches from the main section of knitting run continuously and uninterrupted into the new section. ​

On vertical edges, like with cardigan bands or edges of a rectangular shawl, you are moving up the piece vertically, instead from side to side horizontally.  With vertical edges, insert the needle tip between the first stitch (selvedge stitch) and second stitch, picking up the whole selvedge stitch (both strands).  This places the first column of stitches to the wrong side of the pick ups as if it were a seam.  The second column of stitches now becomes the first column of stitches that you see. 
  
To start, turn your work to the side with the vertical edge lying horizontally at the top.  Insert needle into the first hole above the CO edge and pull through a loop, between the first and second stitch.  Go into the next hole, under both legs of the stitch.  Each stitch has two legs and you’re picking up both.  If you go through just the outer leg you’ll end up with an extra column of half stitches which you don’t want.  If you go trough just the inner edge your selvedge won’t be as stable and can pull out of shape.  Unless the pattern specifically tells you to do this, for various reasons, go under the whole stitch.

For diagonal edges, you’ll insert the needle in one of the two methods we’ve already gone over. The method you choose depends on how your diagonal edge was created. If it was made by using decreases to create the curve, pick up stitches as for vertical edges. Decreases are when a pattern tells you for example to work to 3 sts before the neck opening, k2tog, k1.  Or to k1, ssk, knit to end.  No stitches are bound off.  You’re just decreasing one stitch at a time. 
 
With diagonal edges that were bound off to create the curve, you’ll pick up stitches as for horizontal.  This would be when pattern tells you to BO 3 sts at the beg of the next 2 rows, BO 2 sts at the beg of the next 2 rows, BO 1 st at the beg of the next 2 rows.  This creates a diagonal line that resembles stair steps.   ​

When moving from one step up to the next, avoid the hole or space between the two.  Take your needle into the center of the next stitch and up a row.  It seems like a big jump.  If you go into the hole you’ll just make it bigger. Go to the next stitch and follow it up and insert needle into the top, just under the BO edge.  You’ll see it forms an even diagonal and the stair steps have disappeared.  It looks like an even slant with each new stitch continuing from the old stitch.

Now that we know how and where to insert the needle, we need to figure out how many stitches to pick up and how often.  If we pick up too many stitches, our addition will flare out; too few and the band draws in.  

For a horizontal edge, pick up one stitch for every bound off stitch.  This allows you to stack another row of stitches on top of what you’ve already knit your column of stitches will run continuously across the line of pick ups. 
 
Figuring how many stitches to pick up along a vertical edge is a little trickier.  This is because in most stitch patterns, the number of stitches per inch is less than the number of rows per inch.  We figure out exactly how many stitches by calculating pickup ratio using the ROW gauge of the body and the STITCH gauge of the edging.
 
I’m going to show you three different ways to figure the ratio.  Pick your favorite.  Some work better than others depending on your gauge numbers so it's good to know different ways to calculate.
 
Option 1 (Totals):  Count your rows.  Figure out how many stitches to pick up.  A pattern usually tells you this but I recommend doing it yourself since this is your knitting.  The only way you’ll get the same results as the pattern is if you’re knitting with the exact stitch gauge, exact row gauge and to the exact length as the pattern.   To figure it out yourself, multiply the stitch gauge of the addition by the distance. 

Rows - stitches = difference.    Example:  we count 105 rows in a 15" band.   Our stitch gauge is 6 sts to 1" so 15"x6 sts = 90 sts.  105 rows - 90 stitches= 15 extra rows.  We need to skip 15 rows during our pick ups.  To find the exact ratio, divide larger # (105)  by # of rows to skip (15) and we find out that we need to skip every 7th row 15 times.  Pick up one stitch for one row 6 times, skip the 7th row, then pick up one stitch for one row another 6 times, skip the next row, and so on. 

Option 2 (Gauge over 4"): 
 

1. Determine row gauge of body (Ex: 27 rows = 4”)
2. Determine stitch gauge of addition (Ex:  20 sts = 4”)
3.  20 sts & 27 rows = 4”.   20 ÷ 27= 0.74 converted to a fraction is 3/4 , we’re rounding up.  So pick up 3 sts for every 4 rows.

 
Option 3 (Gauge over 1"):

1. Determine row gauge of body (Ex:  7 rows = 1”)
2. Determine stitch gauge of addition (Ex: 6 sts = 1”)
3. Pick up 6 sts for every 7 rows.  Pick up 1 stitch per 1 row 6 times, then skip the 7th row. 

In all three options, whether you’re working with your total number of rows and total number of stitches, or working with gauge over 1” or gauge over 4”, you’re doing the same thing.  You’re figuring out how to space the lower number of stitches  for your addition across a larger number of rows on your main body of knitting.  It’s up to you which method you choose, but the end result is the same. 
 
 
Diagonal pick ups are calculated the same was as Vertical pick ups. Curved edges, like necklines, are usually a combination of all three.  A neckline is usually formed by binding off the center stitches, then decreasing or binding off 1 stitch at a time to create a gradual slant, then working straight for an inch or so.  

Final thoughts: 

When picking up stitches, a ridge will form on the opposite side.  If you want your ridge to appear on the wrong side, pick up stitches with the right side facing.  If you are picking up stitches around a neck that will be visible (fold-over collar that exposes the area around the neck), you’ll want to pick up stitches with the wrong side facing so the ridge appears on right side of fabric and is hidden when collar is folded over.

Thank you for visiting DonnaEstinDesigns.com and have fun picking up stitches on your next project.​

Mosaic knitting was invented by Barbara Walker in the 1960's and here we are, 60 years later, still obsessing over the effect of this mesmerizing style of knitting.  It is a subset of slip stitch knitting but has its own characteristics, or rules you may say, in order to define and separate it from the broader category of slip stitch.  

Let's go over some of these differences:

First, mosaic is always worked with two colors, which are normally high-contrast colors.  The broader umbrella of slip stitch knitting may involve one, two or three or more colors.  

In mosaic knitting, only one color will be worked at a time, over two rows.  All color changes are done at the beginning of rows or rounds but never involve working with more than one color across a row or round.  

All stitches on are slipped purlwise unlike slip stitch knitting which may slip stitches knitwise or purlwise. 

Mosaic stitches are slipped on right side rows with the yarn always held to the back and slipped on wrong side rows with the yarn always held to the front. This keeps the horizontal strand to the back of the work. In slip stich knitting, this is not necessarily the case.  

Mosaic patterns are geometric and can be complex or simple, with longer multiples and repeats of a pattern.  Slip stitch knitting uses smaller, simpler motifs that repeat frequently. 

One row on a mosaic chart represents two rows of knitting.  

Now that you know the parameters, let's put them into practice and see how it's worked:  

One color is worked across two rows, usually in Stockinette or Garter stitch, then a contrasting color is slipped purlwise over the same two rows.  It is then reversed with the contrasting color worked over two rows and the original color slipped over the same two rows. 

Each horizontal row on a mosaic chart represents two rows of knitting and each row is usually numbered with an even number on the left and an odd row number on the right.  You read first from right to left for the right side (odd numbered) rows, then from left to right for the wrong side (even numbered) rows.

The first and last squares of each row tell you which stitches to work.   

When you begin a row, one color is dropped and the other is picked up from underneath. 

​The wrong side rows look exactly the same as the right side rows and most knitters do not refer to the chart when working the wrong side rows, they just read the knitting on the needles.  This means less time paying attention to a chart.  If you're working on a right side row for example, and you are working all of the dark stitches and slipping all of the light stitches, then when you turn your work, you will work back across the wrong side row doing the same thing, working the dark stitches and slipping the light stitches.  This allows one color to travel to the end of a row and back.  

Mosaic charts will come with their own set of notes.  In the chart below, the notes that explain how to work the chart are listed here:

On RS rows that begin with a dark square, you'll knit dark stitches and slip light stitches purlwise with yarn in back. 

On RS rows that begin with a light square, you'll knit light stitches and slip dark stitches purlwise with yarn in back.

On WS rows, slip all slipped stitches purlwise with yarn in front; knit all dark stitches, purl all light stitches.

On Row 1 for example, you'll begin at the right.  The first square is dark, so you'll pick up the dark yarn and work with only that color.  This is how Row 1 will be worked:

K11, sl 1, k1, sl 1, k2, sl 1, k2, sl 1, k1, sl 1, k10.  On RS rows, stitches are always slipped purlwise with yarn in back. 

Row 2 is worked by:  K10, sl 1, k1, sl 1, k2, sl 1, k2, sl 1, k1, sl 1, k11. You're knitting the stitches that you knit and slipping the stitches you slipped on Row 1. 

This produces the mosaic patterning seen in the Blackwater Mosaic Pullover.  It's definitely not as hard as it may seem.  It moves along quite quickly since you're slipping so many stitches.  Once you remember that the color shown in the first stitch of each row is the color that you'll use for the next 2 rows, it's a fun way to knit. 

Another plus is that tension is usually not as a big of an issue as it can be with stranded work.  If you'll notice in the chart above, you only slip one stitch at a time.  You may knit 10 stitches straight, but are only slipping one stitch.  Just remember when you knit your next stitch following a slipped stitch, not to pull it tight.  Let it rest across the slipped stitch with a bit of room.  

Since you are slipping stitches over two rows (for example slipping all light stitches across the right side row, then slipping those same light stitches on the wrong side row) the fabric will become compressed.  There will be more rows per inch than in plain stockinette.  To prevent a distorted image, you'll often find a combination of Stockinette and Garter used in mosaic knitting.  This produces a nice looking, deeply textured fabric that lies flat.  ​

I really encourage you to not overthink mosaic too much.  Just pick up your needles and yarn, and jump right in.  Read the notes that accompany a chart.  And just start.  You'll find that it all makes sense after you work a couple of rows.  What I love about mosaic charts is that they look just like my knitting, so if I'm not sure of which row I should be working next, I just look at what I've knit so far and compare it to the chart.

Knowing the differences will help you identify which patterns are truly mosaic.    I hope you try mosaic knitting or if you're a fan already, that this helps to shed some light onto how mosaic knitting is defined.

References:
Gonzalez, Leslie.  “Slip Stitch Knitting Redux.” Cast On Aug – Oct 2014.

Gonzalez, Leslie.  “Don’t Confuse Mosaic Knitting with Color Slip Stitch Knitting – They Are Different.” <http://whitehorsedesigns.blogspot.com/ 2014/09/dont-confuse-mosaic-knitting-with-color.html>.   
 
​Vogue Magazine Editors.  Vogue Knitting.  New York, NY:  Sixth & Spring Books, 2002.  

Walker, Barbara.  Charted Knitting Designs.  New York, NY:  Charles Scribner’s Sons, 1972. 
 
Walker, Barbara.  A Fourth Treasury of Knitting Patterns.  Pittsville, WI: Schoolhouse Press, 2012.  
​

Brioche is a wonderfully diverse, almost mesmerizing stitch that attracts attention for its beauty and is loved for its cozy, squishy properties.  In this master class on brioche, my goal is to help you understand this style better and learn some key techniques to your brioche knitting look and behave its best.  

Brioche is not one knitting stitch, but rather a category of slip stitch knitting.  This class of knitting is a hybrid of 1x1 ribbing and double knitting. Brioche is also referred to as Shaker Knitting, English Rib, Shawl Stitch, and sometimes Fisherman's Rib but in the latter, the needle is inserted into the row below instead of making yarn over, which gives a similar but uneven look since you're opening up a stitch which distorts it and leaves the knitting looser.

 
QUALITIES
Brioche creates a double-thick layer of fabric that is deeply texturized, warm, and spongy. The loose, fluffy stitch creates a lofty fabric. The fabric should hold its shape with no holes. When you go down a needle size or two, you are able to create a fabric that has some substance and springs back to shape when stretched. There’s nothing else in the world of knitting quite as distinct and dramatic. The ribs in basic brioche stitch are more dramatic and deeper than regular single ribbing. When worked in two colors, garments take on a deep, 3-D appearance. When the brioche ribs are stretched horizontally, a fishbone pattern emerges on each side of the rib. One of the main qualities of brioche is that ribbing, cables and colorworks are often reversible. In the case of two colors, each side will have a different dominant color which gives garments and scarves more versatility in the wardrobe.
 
During the process of knitting, colors are easier to work than most other forms of colorwork in knitting since only one color is being worked at a time. Many knitters trying brioche for the first time will find it easier to work with two colors since there is no confusion as to which stitch the yarn over belongs to. With syncopated colors, you can alternate from dark to light or vice versa for an interesting effect.  It is truly one of the most versatile, interesting stitch patterns in knitting and can easily become addictive.
 
RECOMMENDED PROJECTS
Since the fabric is extra thick, brioche is best suited for loose-fitting garments with plenty of ease. Allover brioche sweaters are gorgeous with the right weight of yarn and ease. When the look of brioche is desired, but ease and fit of sweaters is a concern, brioche can be combined with other stitches by working brioche panels into garments with less textured stitches. Capes, coats and hats are ideal as they benefit from the double layer and extra warmth. Cowls, scarves and baby blankets are great projects due to the reversible fabric.
 
POTENTIAL PROBLEMS & SOLUTIONS
Brioche will stretch a great deal, but there are ways to control this. Before you start knitting, select an untreated wool which sticks together and holds its shape better silky, slinky blends. Avoid heavy yarns like cotton and fibers that hang with gravity like alpaca and yak which really pull the already stretchy fabric downwards. You want to work with a light, airy, elastic yarn like wool. If you can find a woolen spun yarn, even better. Yarns that are woolen spun, as opposed to worsted spun, will be loftier and lighter which helps counter the effect of the extra yarn and weight. Divide the grams by yardage on the ball bands to find the weight per yard to compare yarns. Beyond yarn selection, to control the stretch you must use a needle several sizes smaller than you normally would for the weight of yarn you’ve selected. Brioche knitted with too large of needles will not spring back into shape, will have holes, look limp and misshaped. You will also need to cast on with a larger needle to prevent the cast on edge from being too tight. Use selvedge stitches to create a firm, neat edge. Lastly, for stability at the shoulder seams, you’ll want to bind off then seam since this is one bind off area that doesn’t need to match the give and stretch created by the brioche stitch.
 
Brioche uses 50-100% as much yarn as Stockinette so you’ll need to buy more yarn. Think about the total yardage needed before deciding on a yarn. Brioche takes more time to knit than other stitch patterns since each row is worked twice so don’t embark on a brioche project when you’re short on time.
 
The double thickness of brioche adds bulk to garments so they must have lots of ease. Since the fabric is extra thick, you want to allow more ease than normal when deciding on which size to make, so the garment still hangs freely instead of pulling tight against your skin. Consider the circumference of the inside of the sweater which will be tighter than the outside. Since sizes listed in patterns will be for the outside circumference, you will want to aim for a finished sweater size that is at least 4” larger than the actual circumference of your chest.
 
The stitch count of rows can change by mistake. If you’re working an even number of stitches without a selvedge stitch, the number of stitches can increase at the end of each row unless the last stitch and its yarn over are always worked together. If you’re working an odd number of stitches without a selvedge, the number of stitches can decrease at the end of each row unless you hold the yarn over in place as you turn the work so it doesn’t pop off. You can flip this last stitch around and place it half hitch style on the needle to better hold it in place. When starting out, take a stitch count at the end of every row until you’re confident.
 
Pieces made with selvedge stitches that are knitted or purled every row will have wavy edges since brioche uses more rows per inch than other stitch patterns. To solve this, always slip the selvedge stitch at the beginning of every row or with two color knitting, work the first and last stitch of every main color row and slip the first and last stitch of every contrasting color row.
 
Tension can be an issue. When you are on the brk or knitting row, since you’re knitting a stitch with the yarn held in the front, a yarn over forms automatically. When you knit the next st, it pulls the yarn tighter which can make the knit stitches smaller. When you are on the brp or purl row, you are taking the yarn from the front, over the needle and around the tip to the front again, then working the purl stitch. Since you have a yarn over lying on top of the needle, the tendency is not to tug when making the purl stitch, therefore the purl stitch can be a little looser. The best way to even out your tension is to be mindful of what’s happening and strive to create your knit and purl stitches with the same tension. This may mean loosening up the knit stitch a bit and giving a slight tug on the purl stitch.
 
 
BRIOCHE RULES
There are many ways of working brioche. Some patterns cast on an even number of stitches, some cast on an odd number. Some use selvedges, some do not. Some begin with a brk and some with a brp. Some use one set up row and some use two. If you think of brioche as a category of double knitting/slipped stitches where the yarn is carried over, instead of in front or behind the work, you will begin to understand why there are so many variables. This is not one stitch with one way of working it. If you look at four books on how to work the 1x1 rib in two colors, you’ll probably see four different ways of working it. And they are all right. Brioche is fabulous in that it gives the creativity and flexibility to do what you want, within some parameters.
 
Some of these common rules, which must be present in all stitch patterns classified as brioche are:

• you will work a stitch, then slip a stitch;
• you will always treat the slipped stitch and its yarn over as one stitch;
• each row or round is worked twice -first knitting one stitch and slipping the next and the second time knitting the stitches that were slipped the first time and slipping those that were worked;
• increases and decreases need to be worked in pairs.

 
 
OTHER CONSIDERATIONS
When measuring gauge, brioche will have fewer stitches and more rows than Stockinette. When counting stitches for your gauge swatch, count the slipped stitch and its yarn over as one stitch. When counting rows, count what you see, so each knit stitch running up a column is one row.
 
When working in the round, you’ll work two rounds for every visible round.
 
When blocking, you’ve got more yarn soaking in the water than you normally would. Squeeze out a much water as possible, carefully support it from the bottom and remove it from the basin. Press out as much water as you can between thick towels. Reshape and let it dry flat.
 
Terminology does vary with brioche. Nancy Marchant created the abbreviations brk for brioche knit which basically means to knit the next stitch with its yarn over, and brp for brioche purl which means to purl the next stitch with its yarn over. Prior to brk and brp, patterns simply said to k1 or p1 and when you work one brioche stitch, you’re always knitting or purling the next stitch together with its yarn over. It’s also written as k2tog or p2tog, which means to knit or purl the next stitch together with its yarn over. You may see this written as k1, k2tog or brk, and p1, p2tog or brp. The reason for brk and brp, is that when working on a garment there are times when you are working a decrease on a non-brioche part so you can see where k2tog can be confusing. Sometimes it means to knit the next stitch with its yarn over and sometimes it means to decrease 2 stitches to 1. And if you have selvedge edges, sometimes you really are just knitting 1 stitch when you see k1, but sometimes it means to knit the stitch with its yarn over. Therefore, using Marchant’s abbreviations of brk and brp help to clarify.
 
Charting is different in that each row is worked twice.  Some of the most common abbreviations include:
brk – knit the st slipped in the previous row tog with its yo.
brp – purl the st slipped in the previous row tog with its yo.
yo – bring yarn over the needle.
yf – bring yarn forward, under the needle tip. Do not form a yo.
yof – a combination of the yo and yf.
yb – bring yarn to the back.
sl – slip st purlwise.
 
HOW TO WORK 
​Single Color Plain Brioche Stitch (without selvedge) [Photo 1]:
CO an even number of sts.
Set up Row:  *Yf, sl1, yo, k1; rep from * to end.
Row 1: *Yf, sl1, yo, brk; rep from * to end.
Repeat Row 1.
 
A good pattern for try out Two Color Brioche Stitch (including selvedge) [Photo 2] is the Rainstorm Scarf pattern.
 
Decreases [Photo 3] allow two knit columns in the ribbing to become one. When you decrease three stitches to one, you eliminate one knit column and one purl column, which maintains the 1x1 ribbing after the decrease.  With increases and decreases, it’s easier to start with row 1 or row 1(a).
 
To make a Left Leaning Decrease (brsssk or sometimes written as sssbrk):  On the RS, work up to the st that is to be decreased. This is usually a slipped st with its yo. Slip the next 3 sts knitwise one at a time to the RH needle. Since you always treat the stitch and its yo as 1 st, you will slip the knit st and its yo, the purl st, and the next knit st and its yo, which is 5 strands on the needle. Slip all 3 sts (5 strands) back to the LH needle to reorient the sts then knit all 3 tog through the back loops. 2 sts dec’d.
 
To make a Right Leaning Decrease (brk3tog):  On the RS, work up to the knit column before the knit column that you want to slant. Insert RH needle knitwise from left to right one at a time into the next 3 sts (the knit st, its yo, the purl st, and the next knit st and its yo). Knit the 3 stitches (5 strands) together. 2 sts dec’d.
 
Non Directional Increases [Photo 4] are most commonly made by using a 1-3 and 1-5 increase. When you increase you take a knit column and branch it into one knit column, one purl column and one knit column for a 1-3 increase and into one knit column, one purl column, one knit column, one purl column and one knit column for a 1-5 increase. This keeps the pattern balanced.
​
To make a 1-3 increase (brkyobrk): On the RS, work up to the st that is to be increased. This is usually a slipped st with its yo. Treating the st and its yo as one, (brk, yo, brk) into the st/yo. When working with 2 colors, after finishing this row, slide work to the other side of the needle and work the next color. When you get to the 3 sts that you increased, continue in pattern with sl1 (first st), yo, purl middle st, yo, sl1 (third st) yo, and cont.
 
To make a 1-5 increase (brkyobrkyobrk), work the same as above but brk, yo, brk, yo, brk into the st/yo to create 5 sts.

CAST ONS AND BIND OFFS
The best cast ons are those that stretch. You’ll want a stable edge for scarves and open edges of garments, but the cast on cannot interfere with the tension of the garment. Since brioche is a loose, spongy stitch, you want a cast on with a bit of give to it. Use larger needles to cast on than the rest of the piece.
 
For brioche worked in one color, Italian Cast On (also known as Two-Strand Tubular CO, Kitchener Rib CO, Invisible Cast On, Tubular Cast On, KP Case On, 1x1 Rib Cast On, Alternating Cast On) is a favorite, as evidenced by its many names used in different regions.
For brioche worked in 2 colors:  Two-Color Italian Cast On (a/k/a Two-Strand Tubular Cast On, and Tubular Two-Color Cast on) allows you to cast on with both colors, maintains the different colored ribs all the way through to the end of the piece, and creates an invisible edge.
 
The best bind offs are those that stretch. Keep your tension loose while binding off. For shoulders that will be seamed, bind off these tightly to provide stability here and prevent too much stretch at the seam.
 
For brioche worked in one color:  Tubular Bind Off, Kitchener Bind Off, (a/k/a Italian Bind Off, Invisible Weave Off), Kitchener Rib Bind off (a/k/a/ Invisible Ribbed Bind Off, K1P1 Bind Off, K1P1 Rib Bind Off), Suspended Bind Off (a/k/a Elastic Bind Off) when you want a straight edge, Stretchy Bind Off (good for 1x1 ribbings). Since the Italian Bind Off is a favorite for 1x1 ribbing, it makes sense that it’s also a favorite choice for binding off in simple brioche stitch. When binding off be sure to match the tension of the preceding rows and do not snug up the yarn tightly as you go.
 
For brioche worked in two colors:  Simple Two-Color Bind Off is fast and similar to regular bind off but gives a pretty chain of alternating colors resting on the top of the bind off edge, that match the columns of colored stitches below.
 
BEYOND BASIC BRIOCHE
Thinking of brioche as its own category of stitches, allows you to see how many brioche patterns can exist. Taking the brioche principles and applying them to cables, increases, decreases, ribbing, colorwork, etc. opens up many different types of stitch patterns. Besides the striking basic brioche, double brioche, honeycomb brioche, and waffle brioche are just some of the stitch patterns that proudly lie under the brioche category.
 
Brioche can easily become addictive. Understanding its’ qualities, suitable garments, and potential pitfalls to avoid will increase your enjoyment when working brioche and lead to better finished projects. Since it can be worked successfully with any weight of yarn, using one, two or more colors either in contrast with one another or monochromatic, it’s easy to find yarn in your stash to begin swatching. Once you get into a rhythm, you’ll find that it is a stitch that can be committed to memory and can be worked without total concentration.

​I hope you enjoy the fascinating world of brioche from the fundamentals, to the exciting knitting process and the dramatic finished projects.  ​

 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

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.

I'm so addicted to slip stitch knitting!  It’s fast, complex looking, incredibly vast, and simple to do.  

Slip Stitch is defined as a stitch passed from one needle to the other without being worked.  

Slip Stitch knitting uses slip stitches to create designs or texture, or both.  

Note - Mosaic knitting and Brioche knitting are subsets of slip stitch knitting, but they are not covered in this article. 

A slip stitch is probably the easiest technique in all of knitting, and certainly one of the fastest and most useful.  It can be used to create a dense fabric, as an alternate way to work stranded colorwork, to create a decorative design on a fabric or as part of a structural role.  

Stitches can be slipped knitwise or purlwise.  When slipping stitches, always slip them purlwise unless instructed otherwise by the pattern.  When you move a stitch from the left needle to the right needle purlwise, you do not change the orientation of the stitch.  This means that a “normal” stitch has two legs, and the right leg rests to the front of the needle and the left leg rests to the back of the needle.  The needle goes through the middle of the two legs.  When you slip a stitch purlwise, it ends up on the right hand needle with the right leg still resting to the front of the needle.  To do this, insert your right hand needle into the first stitch on your left hand needle from right to left, as if you were going to purl the stitch.  Don’t purl it.  Just move it from one needle to the next.  (If the pattern says to slip knitwise, you will insert needle from right to left as if to knit and you will form a twisted stitch.)

In addition to slipping knitwise or purlwise, you can slip more than one stitch at a time,  you can slip the same stitch again on the next row which stretches it, creating a visible vertical strand and compressing the fabric, you can slip a stitch so it draws diagonally or horizontally.  

There are two very different applications for slip stitch knitting:    

First, in a single color, slip stitches are used to either create dense, thicker fabrics which are durable and wonderful for coats,  hats, mittens, placemats, outerwear sweaters, or just highly texturized sweaters.  The purpose of slipping the stitch is to create a visibly decorative pattern.  

Yarn can be held in the back, (wyib) as you slip the stitch to let only the slipped stitch show.  When working with a single color, it is used when you want an elongated vertical stitch slipped over more than one row.  Yarn can also held in the front (wyif) as you slip the stitch which carries a horizontal strand across the bottom of the stitch being slipped.  This provides a woven look and takes on a very interesting look when worked in more than color.  (See Plectics above).

When you use more than one color, you can create all types of designs by slipping a stitch from one color to a future row.  The West Village Cardigan for children for example (below), uses three types of slipped stitches, one in a single color on the body and multi color slip stitch motifs on the hem and cuffs. 

In either single or multi color slip stitch, when you slip a stitch up more than one row, you will compress the fabric, making it denser with more rows to an inch than you would get without slipping the stitches.  These type of slip stitch patterns are designed to manipulate the stitches to create a highly textured fabric. 

The second application, involves keeping the row gauge the same, and does not pull a stitch up to another row.  It is used as an easy way to work Fair Isle.  When working Fair Isle, the stich is slipped with yarn in back.   You can work any Fair Isle pattern as written by working with only one color at a time.  You work each round twice:  first you work it in the first color of the first square on the chart, knitting only those colored stitches and slipping the stitches on the chart that are in the second color.  Then you drop the first color, pick up the second color and work that round again, slipping the stitches that you just worked on the previous go around.  If you are working flat, back and forth in rows, work on circular needles so you can slide the work back to the beginning to begin knitting the same row again in the second color.  

One word of caution however, you will not be able to catch long floats with this technique, so look over the charts before you begin to make sure the colors change frequently.  If you have sections of only one color that are 1" or more, you want to avoid this way. 

You will also still need to spread your stitches out to keep the floats on the back from pulling tightly.  This method is fun to do, but doesn't solve all of the tension and disappearing stitch problems of traditional Fair Isle knitting.  It can make your Fair Isle a little more uniform and yarn more manageable.  It's a great way to work your first Fair Isle piece.

Overall, slip stitch knitting is easy enough for beginners to do, and when I was designing Plectics, I almost classified this Easy.  It’s definitely a good sweater for a confident beginner. It uses single color slip stitch at the cuffs and hem, and multi color slip stitch at the yoke.  It's a fun and fast pullover!

Traveler's Sweater (below) uses one color throughout and you can see the amazing texture that this particular slip stitch pattern creates.  This fabric is denser, with more rows per inch than Stockinette stitch. 

To try this fun way of knitting, look for patterns specifically designed with slip stitch patterns, or try any Fair Isle pattern and work it using only one color at a time (remember to work each round twice; once in each color). 

It is a wonderful knitting option for knitters who suffer from tendinitis or arm pain from knitting since you keep everything light.  You don't want to pull stitches tightly when you are knitting or purling them after a slipped stitch, because you want that strand that runs behind (or in front of) the slipped stitch to lie flat.   For this reason, it's helpful to keep your tension a little on the loose side, especially if you tend to be a tight knitter.  

It is also a great way to create a sweater you can be proud of if you struggle with even tension.  The slipped stitches tend to mask any guttering or rowing out that can be visible in stockinette stitch. Of course striving for even tension is the best solution in your knitting.  But try slip stitch and you may be pleasantly surprised at how good your knitting looks when you're finished.   Just another reason why slip stitch knitting is good for beginner-intermediate knitters.  

References:

​Gonzalez, Leslie.  “Slip Stitch Knitting Redux.” Cast On Aug – Oct 2014: pp. 10-12.

Hiatt, June Hemmons.  The Principles of Knitting.  New York, NY:  Simon & Schuster, 1988.

Stanley, Montse.  The Handknitter’s Handbook.  Newton Abbot, Devon:  David & Charles Publishers, Inc.,  1986.    Distributed in US (New York, NY) by Sterling Publishing Co, Inc.

Walker, Barbara.  A Treasury of Knitting Patterns.  New York, NY:  Charles Scribner’s Sons, 1968.

The Three Needle Bind Off Purlwise allows you to use 3-needle BO with Reversed Stockinette or Garter stitch, where your purl stitches are on the right side of your garment.  This creates a seam that blends in nicely with the purl stitches and is hardly noticeable.

You can read the step-by-step instructions below or watch the video [click here].

How to work the Three Needle Bind Off Purlwise:

1.  The setup is the same as regular three needle bind off.  With the right sides held together (we’re working with Reversed Stockinette so we want the purl sides together), needle tips pointing in the same direction, and same number of sts on each needle, insert 3rd needle knitwise into the first stitch on the front needle.  Leave it on the needle.
 
2.  Wrap yarn counterclockwise around 3rd needle tip to bring the yarn in front.  (You’re setting up a purl stitch and you always bring your yarn forward before you purl.)  Insert 3rd needle purlwise into the first stitch on the back needle and purl this stitch.  Let it fall from the back needle.
 
3.  Take the yarn clockwise around 3rd needle tip to the back of your work.  Lift the front knit st that is being held open, over the st that you just purled and off the needle.  You have 1 st on the 3rd needle.  Do these steps again and you'll have 2 sts on the 3rd needle.  

4.  Lift 2nd st over 1st st and off.   Continue until all stitches have been bound off.  

What we’re doing is knitting the stitches on the front needle and purling the stitches on the back needle.  You bring your yarn forward before purling, then bring it to the back before knitting.    
 
For the front, go into the stitch as if to knit.
For the back, yarn forward, purl the st, yarn back.
Lift the knit stitch held open over the purled st.
Bind off one stitch.
 
This creates such a nice seam that blends in nicely to purl stitches.   I hope you find it useful.  Many knitters love to join shoulders with the three needle bind off.  It is a convenient way to end your work and join the front and back at the same time.  With so many cable patterns using reversed stockinette as a background stitch for the cabling, there are many times where you end up with lots of purled stitches around the shoulders.  Patterns will have you bind off and seam, which has its own advantages (stronger, more stable seam, etc.), but the Three Needle Bind Off Purlwise gives you another option that is fun to do, looks great and saves time.  I hope you enjoy it!