The Australian magazine for knitting and more Volume 14

Issue 35
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YARN MAGAZINE issue 35.

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Knit • Felt • Crochet • Spin

What’s INSIDE!

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35

9 771832 978003
Lace • Slipped Stitches • Twisted Cable • Woven Garter & much more!
Yarn35 cover.indd 1 7/9/2014 10:04:06 PM
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Yarn35 IFC.indd 1 7/17/2014 9:41:20 PM

 What’s INSIDE!
A good idea begins with a good yarn

YARN Issue 35/Sept 2014

®

Publisher
ArtWear Publications Pty Ltd

Editor
Michelle Moriarty.

Art Director
Kylie Albanese.

Consulting editors
Rose Long, Wendy Knight, Anna Garde,
Liz Haywood, Glenda Brown.

Photography
Article photography by contributor unless
otherwise stated; Kristie from Figtree Pictures
pgs 10-21, 25-28, 34-43 www.figtreepictures.
and more . . .
com ; Nick Burrows from www.nbart.com.au
pgs 30-31; styling by Michelle Moriarty.

Cover
Bear image by Kristie from Figtree Pictures,
contents issue 8
location/styling by Michelle Moriarty. W Cast on W Patterns cont’d
Contributors Editors’ notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Edward the Bear Jenny Occleshaw . . . . . . 13
Liz Haywood, Robynn El-Ross, Wendy Knight, Letters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Simple Socks (without dpns) Wendy Knight . . 18
Jude Skeers, Lynne Johnson, Jenny Occleshaw,
Miss Morry, Eva Steinkamp, Jennifer Manley,
Book Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Splashosaurus Robynn-El Ross . . . . . . . . . 21
Nicole Don, Clare Hacker. Handy Wrist Warmers Eva Steinkamp. . . . . . 27
W Columns Lucy vintage shrug Miss Morry . . . . . . . . . . 30
Admin assistant
Dawn Bordin. A Sampling of Slipped Stitches Liz Haywood . . 6 Crochet Earrings Nicole Don . . . . . . . . . . . . 34
Profile: Luke Martinelli Jude Skeers . . . . . . . .47 Nietta Shawl Clare Hacker. . . . . . . . . . . . . . 36
Advertising sales & marketing:
Lynda Worthington 03 9888 1853
thegirls@artwearpublications.com.au W Features
Published in Australia Woven Garter Stretched Diamonds W Cast off
Printed in China by Everbest Printing Co Ltd.
Lynne Johnson . . . . . . . . . . . . . . . . . . . . . 39 Advertisers’ Index . . . . . . . . . . . . . . . . . . . . . . . .2
Australian distribution by Gordon & Gotch

New Zealand distribution by CRAFTCO Limited Great Grandma’s Knitting Jenny Manley . . . . 32 Yarn Related Yumminess . . . . . . . . . . . . . . . . . . . . 50
Tel:+64 (0)3 963 0649. YARN Market . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Back to Back Wool Challenge Team ArtWear . 44
USA and Canada distribution
by DISTICOR Magazine Distribution Services
Stitch Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

W Patterns
Tel: +905 619 6565.
Logo Listings . . . . . . . . . . . . . . . . . . . . . . . . . . 54
UK distribution by Manor House
Tel +44 (0) 1672 514 288. Knitted Tricolour necktie Liz Haywood . . . . . 10 YARN Classifieds . . . . . . . . . . . . . . . . . . . . . . . 55
World Wide Digital Distribution by GGA
www.pocketmags.com.au

Please address comments, letters, and inquiries to

thegirls@artwearpublications.com.au
or write to YARN Magazine, PO Box 469,
Ashburton, VIC 3147. Ph: +61 3 9888 1853. Acknowledgements Thank you to our models Amy & Glenda and to Kristy at Figtree Pictures; to the contributors for
All contents © YARN Magazine 2014. The purchaser their great work; to our tech editors and to our readers and subscribers for supporting an Australian independent publication.
of this magazine may make a single copy of any
pattern contained within for personal use only. Please
do not give copies to your friends. Contact us to talk
about reproductions, including intended sale of items ArtWear Publications P/L has taken reasonable steps to ensure that the copyright of each article or project resides with the contributing
made from patterns within this magazine. If you have author. We secure from each author a warranty stating such, or that the author has obtained all necessary rights, licences and permissions such
any questions about obtaining permissions or about that publication will not infringe on any third party’s copyright. ArtWear Publications P/L relies on these warranties when asserting that the
this policy, please contact us at the address above. copyright is owned by the authors. Instructions for the published projects have been checked for accuracy and are published in good faith. We
cannot guarantee successful results and offer no warranty either expressed or implied. All companies and brands mentioned are included for
YARN ® is a registered trademark of editorial purposes, and all copyrights and trademarks are acknowledged.
ArtWear Publications P/L, Ashwood, VIC. ArtWear Publications P/L takes no responsibility for the accuracy of the content of any advertisements, advertorials or paid promotions.
ISSN 1832-9780. Any claims and statements are not those of the publisher.

www.artwearpublications.com.au Issue No 35 YARN 1

Y35 contents pg 1.indd 1 7/17/2014 9:39:25 PM

 editors' notes
the girls!
September often seems to bring in the winds of change. Do you like the new look, perfect bound pages
(rather than stapled, as with past issues)? We thought that you might like a change. The spine is now easier
to read when stacked, so you can grab the exact issue that you are after, in an instant. Want more change?
After 7 years at the helm of Yarn, Michelle is changing paddocks and going into semi-retirement (she is
not ready for hay just yet). She has a few more articles already lined up for you, including a smashing
technique known as swing knitting and a great article by Liz Haywood on I cord. The editorial will now
Michelle be split between Wendy Knight (crochet) and Glenda Brown (knit), with help from the usual tech editors
and test knitters. How lucky you all are to be having two such experienced, but fresh-eyed editors!
We hope you enjoy the mix of essential (and not-so essential, but in�initely covetable) items in this issue. We
confess to having made a few of the bears already, some decidedly more female than male and not all of the
gardening variety (sorry Jenny). A few splashing mermaids have also made their way into the hands of our test
knitters children (one of the bene�its of the job). Lynne has created a pile of projects in her woven garter technique,
leaving you with ideas and suggestions on how to take the experiments even further. We love how Lynne does this.
The Lucy vintage shrug is perfect for in-between seasons, as is the Nietta shawl, slipped stitch necktie (we did
have our reservations about a necktie initially, but it gets in the way less than a scarf, creates a pop of colour and an
iota of warmth, so we are now converts and have a necktie or two on the needles as we type), and the mitts. The
crochet earrings are quick to make and the perfect vehicle to showcase delicious threads; while the socks by Wendy
Knight offer relief to those that prefer knitting on straight needles.
Did you catch a glimpse of the royals on page 33? They are being presented with the hand spun camel beanie,
complete with kangaroo motif. The article makes for great reading and as an added bonus, Jenny has provided
the original motif, as designed by her great grandma in 1937. We also provided a slightly easier version, so that
everyone could have a try.
Thanks for your company over the years, Michelle

YARN Issue 35 Advertisers Index

Advertiser . . . . . . . . . . . . . . . . . . . . . . . . . . .Page Galifrey Alpaca Textiles . . . . . . . . . . . . . . . . .51 Stitch‘n Time . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Alpaca Ultimate . . . . . . . . . . . . . . . . . . . . . . . . 11 GGA Digital . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Stranded in Oz . . . . . . . . . . . . . . . . . . . . . . . . . 33
Ashford New Zealand. . . . . . . . . . . . . . . . . IFC Glenora Weaving & Wool . . . . . . . . . . . . . . 55 TAFTA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Australian Organic Wool (WOOLganic) .51 Grampians Texture . . . . . . . . . . . . . . . . . . . . .15 Tailored Strands . . . . . . . . . . . . . . . . . . . . . . . . 3
Banksia Yarns . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Handspinners & Weavers SA. . . . . . . . . . . 55 Tarndwarncoort . . . . . . . . . . . . . . . . . . . . . . . 54
Batik Oetoro . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Handknitters Guild Inc VIC. . . . . . . . . . . . . 55 Tasmanian House of Fibre . . . . . . . . . . . . . 54
BB Yarn Supplies . . . . . . . . . . . . . . . . . . . . . . . 54 Kathy‘s Fibres . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Tasmanian Wool Centre . . . . . . . . . . . . . . . 54
Biggan Design . . . . . . . . . . . . . . . . . . . . . . . . . .51 Knitalpaca . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
The Stash Cupboard . . . . . . . . . . . . . . . . . . . 25
Can Do Books . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Marlyn Alpaca . . . . . . . . . . . . . . . . . . . . . . . . . 54
The Stitching Circle . . . . . . . . . . . . . . . . . . . . 54
Colonial Lake Books . . . . . . . . . . . . . . . . . . . . 55 Miss Morry . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Uralla Wool Room . . . . . . . . . . . . . . . . . . . . . . 11
ContextART . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Moseley Park . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Vintage Made . . . . . . . . . . . . . . . . . . . . . . . . . 19
Craft Alley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 National Wool Museum . . . . . . . . . . . . . . . 23
Ecoyarns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 Puchka Peru . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Waratah Fibres . . . . . . . . . . . . . . . . . . . . . . . . .51
Feltfine Yarns . . . . . . . . . . . . . . . . . . . . . . . . . . .51 Robynn-El. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 White Gum Wool . . . . . . . . . . . . . . . . . . . . . . 25
Feltmaker DVD . . . . . . . . . . . . . . . . . . . . . . . . 46 Salamanca Wool Shop . . . . . . . . . . . . . . . . . 54 Wirraworra Wool . . . . . . . . . . . . . . . . . . . . . . 55
Fibres & Threads. . . . . . . . . . . . . . . . . . . . . . . 54 Shiloh Wool. . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Woolybutt Knitting. . . . . . . . . . . . . . . . . . . . 54
Fibreworks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Spacefrog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Yay! For yarn . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

2 YARN Issue No 35 www.artwearpublications.com.au

Y35 editors & letters pg 2n3.indd 2 7/9/2014 10:08:09 PM

 letters

Subscriber Newsletter
Our Group continues to enjoy each edition of Yarn. I’ve
just completed knitting the bonus pattern from the last
Subscriber Newsletter (the Twisted Alpaca Wrap). I
substituted hand dyed, hand spun alpaca/merino yarn
and I’m very pleased with the �inished article. Keep up
the good work.
—Flo Flood (Healesville Spinners Group Inc.)

Supporting Aussie Wool

I just received my copy of Yarn. What a fabulous job you
did…love the cardie, and you showcased it so well…the
Tassie special came out really well also. Well done.
—Nan (White Gum Wool)

Buying Local
Thank you so much for including my yarn in Your Yarn
related Yumminess page. I really appreciate the support
that you give to the small business person :-) I have
to tell you that the day after the magazine came out I
received an order from a new customer for that yarn
and two other skeins. Love it, thank you.
—Kathy (Kathys Fibres)

Textile neurons
created by artists Pat
Pillai & Rita Pearce
were displayed at
the 11th Annual
World Congress
of Brain Mapping
& Therapeutics in
Sydney.
Neural Knitworks is a project contributing to National
Science Week. Neurons are electrically excitable cells
of the brain, spinal cord and peripheral nerves. The
billions of neurons in your body connect to each other
in neural networks. They receive signals from every
sense, control movement, create memories, and form
the neural basis of every thought.
Textile artist Pat Pillai’s idea to knit and weave hand
made brain cells was dubbed the winning pitch at last
year’s Ultimo Science Festival Art & Science Soiree in
Sydney and with encouragement from the Soiree’s
organiser Sophie Weeks, and fellow artist Rita Pearce, the
idea for a travelling neural art exhibition soon took hold.
Careful to ensure that their neurons are created with
scienti�ic rigor, Pat and Rita have met with neuroscience,
microscopy and stem cell experts including Professor
Kuldip Sidhu from UNSW’s Centre for Healthy Brain
Ageing and the Society for Brain Mapping & Therapeutics.
This connection led to Pat and Rita being invited to display
their creation at the 11th Annual World Congress of Brain
Mapping and Therapeutics in Sydney earlier this year.
Scienti�ically informed knit, crotchet and knot patterns
(in PDF form) are available at
www.scienceweek.net.au/neural-knitworks-craft-a-healthy-brain/

www.artwearpublications.com.au Issue No 35 YARN 3

Y35 editors & letters pg 2n3.indd 3 7/9/2014 10:11:16 PM

 reviews

Yarn Works: How to Knits from an English

Spin, Dye, and Knit Rose: 25 modern-vintage
Your Own Yarn accessories
W.J. Johnson (Creative Publishing) Louisa Harding (Sixth & Spring)
ISBN: 9781589237889 RRP $44.99 ISBN: 9781936096657 RRP $34.99

A s an experienced knitter,
competent drop spindler
and novice dyer, this is the how-
L ouisa’s feminine and romantic
designs are influenced by the
English landscape and heritage,
to book I have been waiting for! Yarn Works is a guide for from London city life to the Yorkshire countryside. She
knitters who wish to try spinning and dyeing, yet it also manages to link urban with country, and modern with
appeals to experienced spinners and dyers who want to a vintage feel, adding embellishments and a hint of
add to their knowledge base and creative output. It is costume. Her knitwear designs share a timeless quality
divided into four workshops: Fiber, Spin, Dye, Knit, each and several are executed and photographed in different
headed by an historical perspective. yarns to showcase wearability in various circumstances.
In Fiber Workshop, you learn the specific attributes I am impressed by the full colour photography which
of various fibres such as wool, protein (eg camelid highlights the stitch patterns clearly (it can be annoying
family, angora), silk, azlon, cellulose (seed hair to a knitter to try to follow an intricate pattern without
and bast), nylon and pla (corn and mineral) and a distinct accompanying image as a guide). Patterns
how to prepare your fibre. Spin Workshop teaches include a shrug, vest and shawl, berets, purses, mittens,
spinning techniques on a spindle and a wheel, collars, scarves and hats. The General Information at
spinning methods, twists and plying. Dye Workshop the rear of the book includes hints on the importance of
shows how to dye the spun yarn with both natural tension samples, sizing and yarns; a decent Abbreviation
(cochineal, madder and indigo) and synthetic dyes list; Finishing Techniques (pressing, blocking, seams,
(acid for protein and fibre reactive for cellulose ends); Yarn Information (animal and vegetable); and
fibers). Knit Workshop explores fibre (grouped by an Interchangeable Yarn Table listing generic weights
protein, cellulose and synthetic blends), using the (3 to 6 used) and how to substitute Louisa’s own line of
actual yarn created and dyed beforehand. Influenced yarns which were chosen for their colour, construction
by her Swedish heritage, Wendy’s ten simple patterns capabilities and elegance. I like the inclusion of Special
include a tie, wrist warmer, socks, mitts, scarf, cowl, Abbreviations at the front of 22 of the 25 designs,
hat and a small notions bag, designed to use small precluding the necessity of turning pages to find the
amounts of handspun fibre. meanings of specific techniques. The knitting stitches
Complete with photos under the headings of Fiber, and patterns chosen, married with the line and flow
Spin and Dye, Wendy includes a comprehensive of each garment, certainly encourages the reader to
set of Appendices covering 24 pages. This explains complete several articles. This book is too beautiful
everything a spinner, dyer and knitter needs to to be stored on a shelf. Leave it out in plain sight to
know, such as definitions of roving, blending, yarn tempt you to make one of these gorgeous accessories
measurement systems, trouble shooting and record for yourself or a friend. My favourite designs are the
keeping. She follows this with volume comparisons Myrtle Fur Collar, the Laverne Beautiful Bloom Scarves
and knitting abbreviations in a General Appendices with knitted embellishments and the stunning Muriel
and an excellent index. Paisley Capelet. I have just the right wool for that one….
The most exciting part for me, is the Creative Dyeing —Robynn-El Ross
Workshop where you are led to play with colour
and fibre by shaking, spilling, heating, painting and Pretty Funny Tea Cosies
immersing to create unique multi-coloured yarns. I Loani Prior (Murdoch Books)
also love the Basic Tools list with photos that enable the ISBN: 9781743360934 RRP $29.99

O
reader to safely dye at home with success. Discussed h my gosh, where to start
are fibre preparation, dye strengths for colour intensity, with this book! Loani has
recipes and alternative cooking methods, like osmosis an absolutely delightful and
(ombre) dyeing using two jars. What could be simpler! humorous approach to not
This book has stirred my creative juices and I have my only knitting, but also I’m guessing, to life itself. The
next dyeing weekend already planned, complete with enjoyment and fun she appears to have in creating these
willing friends, fibre, wool, dyes, pots, oven and this little wonders just shines through in her directions and
fabulous book of instructions. little added notes. Okay, enough of all that. Let’s get
—Robynn-El Ross down to the review.
There are three basic cosy patterns, which is where

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Y35 book reviews pg 4n5.indd 4 7/9/2014 10:13:24 PM

 reviews

I’d suggest you start if you are a novice at working on

circular needles. The instructions for working on circular
needles are comprehensive and are accompanied by
good, clear photographs. The instructions cover casting
on, knitting in the round, the different types of stitches
including increasing and decreasing, mattress stitch for
sewing two pieces of knitting together and `Wonder
Weave’ a way to make a totally new type of fabric.
Now we come to what I can only describe as some of
the most fun, colourful, pretty, delightful (yes, that word
again!) and cute projects that one could wish for. Most
of the names will describe the type of cosy featured
in the pattern. The Ranga is the most gorgeous little
orange �luf�ball of a cosy and is dedicated to all Rangas,
Gingernuts and Carrot-tops in the world. Then there is
the colourful and slightly gaudy Jester cosy with its peaks
tipped with matching pom-poms; the imperial looking
Tibetan Tea Warriors with the little plumes atop their
crowns and the enchanting Ms Daffy Dill who has been
shown off at Australia’s Of�icial Biggest Morning Tea
(and is still working as an Ambassador for the Cancer
Council when needed). My three personal favourites
though would have to be Just an Old-Fashioned Girl as
described by the author as having `luscious folds of
soft carnation pink and pistachio green crowned with a
lavish display of delicate bell �lowers’. Doesn’t that just
say it all? She’s Apples and Fruitopia come closely behind
with their scrumptious looking fruit selections which
once mastered could easily be applied to creations Many of the designs look more dif�icult than they
other than tea cosies. are, with weaving, braiding and appliqué being added
Even if you don’t drink loose tea and only use a teabag, on or worked afterwards. Needless to say, most of the
I can guarantee that if you are a knitter, you will be designs require quite a bit of seaming or hand sewing!
chomping at the bit to make one of these cosies. And if not There are some great circular and also bias designs.
there are other projects such as pot-stands, neck warmers Those of you familiar with Nicky Epstein designs will
and cardigan trimming ideas. Happy knitting everybody. already have guessed that some of the garments will
—Erica Aptroot never make it onto your needles, as they are just too
Knitting Reimagined much (of everything). In this book however, Nicky
does offer some different ideas and suggestions—it is
Nicky Epstein (Potter) easy to imagine the designs in simpler, more wearable
ISBN: 9780385346252 RRP $49.99 possibilities. You could keep knitting from this book for

T his is the perfect book for

those of you wanting to
try new ideas out, but with the
years without getting bored!
You will �ind a range of sizes, great graphs and
schematics, full written instructions and a Knitting
need for instructions to get you Techniques section. There are 25 designs, all for
started. The designs range from women, but with a bit of forward thinking, you can use
simple to advanced level and come with suggestions many of the designs for children as well. Some feature
on how to change the design to suit your requirements. shaping, some don’t, but each design is guaranteed to
For example, rectangles are used frequently in the stand out as unique and one-of-a-kind. If you need a
Directionals chapter, and Nicky adds that you may like quirky pattern but want to add your own special twist,
to seam differently to add sleeves, throw in an extra this is a great book to get you started.
few blocks to make a hood, add a pocket or change the —Michelle Moriarty
look with yarn colour or texture. All simple enough,
but with the added bonus that for one of the projects
in this chapter (On the Block Topper) you get to see 6
different designs made from the same basic pattern
(but reimagined).
Felt OUT
NOW!
distribution through newsagents , select craft stores and guilds
(03) 9888 1853 or visit www.artwearpublications.com.au

www.artwearpublications.com.au Issue No 35 YARN 5

Y35 book reviews pg 4n5.indd 5 7/9/2014 10:13:57 PM

 A Sampling of
that more rows are needed than usual to achieve
the same length. The horizontal density may also
compress, requiring more stitches to be a cast on

Slipped Stitches for a given width. Sometimes both vertical and

horizontal densities compress. Obviously, the greater
the compression the thicker the fabric.
By Liz Haywood
Although slipping a stitch is very easy and quick
Slipped stitch patterns offer multitudes of interesting (much quicker than, say, making a cable), you may find
variations and yet it’s one of the simplest knitting the speed of working slipped stitch fabrics deceptive.
techniques. A slip stitch fabric is created by slipping Because the technique causes the fabric to compress,
some of the stitches in a row. “Slipping a stitch” means there are more stitches and rows to knit for a given size,
you simply transfer the stitch from the left needle to the so the work grows more slowly.
right without working it. The result is generally a denser, Bands or edgings to stabilize and stop the edges from
stronger fabric because the slipped stitches draw the curling may not be needed, since many slipped stitch
fabric in. patterns lie flat. For a minimalist edging you could try
Slipped stitch patterns can resemble woven fabrics two or three rows of reverse stocking stitch, or picking
like tweeds, honeycomb, woven stripes, waffle, twills, up stitches along the edge, knitting one row, then
brocade, quilted fabric, jacquard type weaves and casting off. You could even just pick up (and knit) the
herringbones. I confess I just love these tweedy, woven- stitches and immediately cast off.
like fabrics! Some of these knits look just as good or
even more interesting on the reverse side, too. Choosing needle sizes
Slipped stitch fabrics are very suitable for tailored- Needle size is the key to controlling the density of the
style garments like fitted vests, neat Chanel-style fabric. What kind of fabric are you aiming for? An elastic
jackets, coats, and pencil skirts. They are also frequently fabric with drape, something soft and cosy, a sturdy,
used for accessories like handbags, vintage neckties, strong material or a thick, dense windproof fabric?
headbands and belts. The flat, non-curl surface of some Try a few different needle sizes to see which is best.
slipped stitch patterns is perfect for collars, pocket If there’s a high proportion of slipped stitches in the
flaps, placemats and coasters, blankets, and mats. pattern, start with a larger size than you would normally
choose for that yarn. If the background of the pattern
How to work a Slipped Stitch is mainly stocking stitch, probably the recommended
Slip the stitch from the left needle to the right needle needle size for that yarn is ok.
without knitting it, while carrying the yarn either The cast on and cast off rows can frill or flare if the
behind or in front of the slipped stitch (the pattern will slipped stitch fabric pulls in horizontally. Try using
tell you which). a smaller size needle to cast on and off, and maybe
The stitch must be slipped purlwise (ie insert the working these rows more firmly than usual. Check this
right needle into the stitch as if to purl), otherwise it when you do a swatch.
will be twisted around and sit at the wrong angle when
it is knitted on the following row. This can be part of the Choosing yarn
pattern, but unless specified as “slip knitwise”, slipping Conveniently, slipped stitch patterns work well on fine,
purlwise is always assumed. medium or chunky yarns.
Sometimes just a single stitch is slipped, or sometimes Wool yarns tend to knit up like actual woven fabric.
a group of stitches are slipped together. A stitch can also Textured yarns look tweedy. If you can buy smooth tape
be slipped for more than one row. or ribbon yarns, try mixing them with regular yarn in
If the yarn is stranded in front of the slipped stitch, the same pattern for an interesting texture.
the directions will read “wyif” or “with yarn in front”. Pay attention to how you handle the yarn when
When the yarn is held in front of just one stitch, the knitting slipped stitches. Don’t stretch it tightly, and
effect is subtle; it’s more pronounced when the strand be consistent, especially when slipping multiples of
is held over more stitches. strands. Carry the strands loosely across the fabric. A
When the yarn is stranded behind the slipped stitch, “floating” strand will give more impact.
the directions will say “wyib” or “with yarn in back”.
The strand isn’t seen at all when it’s carried behind the Mixing slipped stitch patterns in the same
slipped stitch, and all the focus is on the slipped stitch. fabric
When a stitch is slipped, it’s lifted out of its own Combining patterns horizontally in stripes or bands is
row and knitted or purled on the next one. This the easiest way to use different patterns together, since
compresses the length of the fabric (the “vertical if the gauges are different you can increase or decrease
density”), pulling the other stitches together, so between patterns. Therefore, swatch carefully before

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 combining slipped stitch patterns in the same fabric. Diamonds
The row tension should match if you’re combining This is an
right side
patterns in a vertical arrangement or as an isolated interesting and
motif, otherwise the looser pattern will bubble while subtle form of
the tighter one will draw in. patterning, found
If the reverse of a fabric is interesting enough, you in Britt-Marie
could alternate right and wrong sides in the design, Christoffersson’s
and it will all have the same tension. Checkerboard innovative book,
formations can also work well, since any row “Pop Knitting”.
differences are evened out by the regular alternation The book shows
of the pattern. a similar square
reverse side patterning knitted
Gallery allover on a
Here’s a selection of samples chosen to highlight the cardigan. The
different faces of slipped stitch patterns. All samples stitches are slipped-
were knitted using 8ply wool, and most used the with-yarn-in-back
recommended 4mm (US 6) needles, but some used on alternate rows,
5mm (US 8). forming long �loats
on the wrong side.
Honeycomb While this looks
Here’s a thick, �lat simple, it’s veeery dif�icult to knit and keep the long
fabric that doesn’t �loats consistent (not too tight or too loose). It might
curl at the edges be easier on a smaller scale with �iner yarn (Britt-
because it’s based Marie used 4ply and 2.5mm needles), since the �loats
on garter stitch. wouldn’t be as long. This technique works best as an
Close inspection allover pattern for squares or diamonds. Sadly it isn’t as
shows that the effective for round shapes or as a motif.
“honeycomb” is an
illusion, because Welts
the honeycombs right side This is another
aren’t linked, they’re just the �loating strands where the “Pop Knitting”
yarn is carried across the back of each slipped stitch. I swatch, featuring
used 5mm (US 8) needles for this swatch, resulting in a horizontal welts
soft, springy fabric, but afterwards wondered if I really separated by
needed to. I can imagine 4mm (US 6) needles would neat grooves. It’s
produce a dense fabric, perfect for a coat collar or a constructed by
small handbag. slipping every
second stitch
Quilted Lattice across a whole
reverse side
This pretty row for three
quilted-looking rows, with the
pattern was voted stranding always
“favourite sample” on the right side,
in our household, then a fourth row
but did the colour is knitted. It pulls in
have something horizontally a great
to do with it? The deal (more than
“quilted” look is any other sample
another illusion. here) and the fabric is very thick and stable. The lower
From a distance it does look quilted. Closer up, it looks edge is very neat. It could be a good pattern to use as
like strands have been woven in diagonally through a border for something. The welts lend themselves to
the �inished knitting afterwards. Actually, the pattern stripy patterns, for example, knitted welts of alternate
has strands slipped-with-yarn-in-front over 5st, then colours creating stripes, or rows of plain stocking stitch
the centre of each long strand is picked up on the next placed between bands of welts. The wrong side creates
alternate row and knitted into the stitch. It’s a little an equally interesting fabric. Right and wrong sides
tricky to make the strands consistent and not too tight. could be combined in blocks and stripes.

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Y35 Sampling of Slipped Stitches pg6.indd 7 7/9/2014 10:15:29 PM

 Jacquard Diamonds and Herringbone right side of a simple two-
Two interesting row repeat, where
and related the wrong side is
fabrics are shown purled and the right
together here. side alternates
They both use the knit and slip stitch.
same design idea The reverse side
of diagonal lines is attractive too,
of slipped stitches featuring columns
(two stitches are of bubbly purl
reverse side
slipped together stitches.
each time to give a
longer strand). The
brown sample has
them arranged into
diamond shapes
with a stocking
stitch background,
and the blue
sample has a much Considering colour
higher density of slipped stitches in a herringbone While some slip stitch patterns are best in a single solid
formation. The brown diamonds fabric curls like colour, others lend themselves to two or more colours.
regular stocking stitch (since it mostly is stocking With these you can create a really unique fabric with
stitch) and was knitted on 4mm (US 6) needles. The complex interplays of colour, texture, �ibre and pattern.
blue herringbone is a �irm, stable, non-curl, densely As with woven textiles, tweedy, striped or plaid patterns
woven fabric, knitted on 5mm (US 8) needles. Smooth are all great vehicles for combining colour. Bold effects
yarns of uniform thickness show off this type of can be achieved in contrasting colours, while subtle
pattern best. blends of colour can mimic tweed woven fabrics.

Rank & File Stitch Woven Stitch

Why does this This is a very
right side right side
remind me of simple slipped
1960s and 70s stitch pattern with
crocheted suits and a pretty texture.
raf�ia handbags? The bottom of the
Stitches are slipped swatch shows the
over two rows to pattern knitted in a
give elongated knit single colour.
stitches on the right When the pattern
side. The fabric is knitted in two
reverse side lies �lat, yet has colours, depending
depth and softness, on the rows chosen,
probably because reverse side quite different
I used 5mm (US 8) effects result.
needles. It also has a Here’s the pattern
reasonable stretch. (even number of
It looks interesting stitches):
on either side, and Rows 1 & 3 (wrong
I actually prefer the side): Purl
back. Row 2: K1, (s1wyif,
K1) rep to last st,
Faux Rib K1
This is one of the numerous slipped stitch fabrics that Row 4: K1, (K1,
resembles rib, although it doesn’t behave like rib. It is s1wyif) rep to last
much �irmer and has no “boing”. It does have ribbing’s st, K1
non-curling tendencies, though. The pattern consists The middle slice of the swatch was knitted with rows

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 2 and 3 in light green and rows 4 and 1 in dark green. A hexagonal “chicken wire” shapes are more rectangular
tweedy pattern results, and the slipped stitches mix the until the fabric is blocked and stretched.
two colours together well. It’s a classic example of an “outline” pattern, where
In the top section, rows 1 and 2 are in dark green, and one colour is outlined by another that is slip-stitched
rows 3 and 4 are in light green, forming textured stripes. to create the vertical parts. Other variations include
Same pattern, same coloured yarns, just different rectangular “bricks and mortar” looking patterns, rows
rows selected. of �loating circles, and lozenge shapes.
Interestingly, on the reverse side of the swatch the top The vertical sides of the hexagons consist of two
and middle sections look nearly the same. stitches slipped over six rows. The slipped stitches pull
the sides of the rectangles into hexagons. This pattern
Novelty Tweed could be knitted in more than just two colours. For
right side Here’s my attempt example, the background colour could be variegated, or
at creating a woven- each row of hexagons could be a different colour. There
look novelty tweed, could even be stripes of different colours within each (6
the sort used by row) hexagon.
Chanel for little
jackets and suits Bibliography
back in the early Treasury of Knitting Patterns Vols 1 & 2 by Barbara G
2000s (see the neck Walker, Schoolhouse Press (Each has a chapter on
tie page 10 for how slipped stitch patterns, and the Second Treasury has
to work the Novelty a separate chapter on slip stitch colour patterns); Pop
reverse side Tweed). I’ll admit Knitting: Bold Motifs Using Colour and Stitch by Britt-
it’s a bit of a “love Marie Christoffersson, Interweave Press (Exciting and
it or hate it” type inspirational stitch techniques, with several chapters
fabric. It typically on slipped stitch patterns. By the way, babies and
features bright or toddlers love looking at this book!); Essential Guide to
unusual colour Colour Knitting by Margaret Radcliffe, Storey Publishing
combinations, and (Great ideas for incorporating colour into slipped stitch
garment edges patterns); Mary Thomas’s Book of Knitting Patterns
are trimmed with (pink cover), Dover Publications (Short but good
a fringe made from the same fabric. Even though this overview of slip stitch principles and design).
swatch is thick with a high density of slipped stitches,
the fabric curls like regular stocking stitch. Perhaps
it’s a little too tightly knitted (I used 4mm needles but
probably should have gone up one needle size). You
may be able to see by the frilly mauve cast-on edge how
much the fabric draws in horizontally. A smaller needle
size should be used for casting on and off to prevent
this (unless you like this look). The reverse side shows
bubbly purl stitches with the stranding blending the
colours together more.
There are many slip stitch patterns that could be
used to knit novelty tweed, and it’s a fun opportunity
to experiment with novelty yarn, eg, ribbon yarn, �luffy
synthetics or a frilly edged tape.

Hexagons
This pattern is
fun and satisfying
to knit, and looks
more challenging
than it really is.
White garter stitch
outlines an aqua
stocking stitch
background. The

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 10 YARN Issue No 35 www.artwearpublications.com.au

Y35 Tie pg10.indd 10 7/9/2014 10:20:50 PM

 Knitted
tricolour
necktie
By Liz Haywood

Yarn 20g (3/4oz) each of 3 different colours of 8ply (CYCA

#3) DK weight yarn. Choose a light, medium and dark
colour for good contrast. If you use two balls of the same
colour and one ball of contrasting, you will have dots of
colour on a solid background, instead of an alternating all
over colour dotted pattern.
Yarns used were all from my stash; the grey is from
Bennett and Gregor; the light green is an alpaca blend
from Bendigo Woollen Mills, and the coral is some
Cleckheaton that was originally gold before I dyed it with
some food colouring.
Needles and notions 4mm (US 6) and 5mm (US 8)
needles; 10cm (4in) of 1cm wide ribbon in a colour to
match
Tension 21st in pattern to 9.5cm (3¾in), this is the actual
width of the widest part of the tie. You won’t need to do a
tension swatch; just cast on and you can’t go too wrong.
Abbreviations M1=in this instance, putting a backwards
loop over the RH needle; s1wyib=slip 1 stitch with yarn in
the back; s1wyif= slip 1 stitch with yarn in the front; all
other abbreviations, see Stitch Guide.
Finished Size Length 141.5cm (55.75inch); width
variable, see schematic 100%
AuStrAliAn
AlpAcA
Linen stitch worked in three colours. sourced from some
of Australia’s
Slipped Stitch Pattern (odd number of st) leading alpaca cones

Row 1 (rs): K1, (s1wyif, K1) to end studs 1, 2 & 4 ply and Boucle

Row 2: K1, P1, (s1wyib, P1) to last st, K1

Decreasing row (always on rs rows):
Rs row: ssk, K1, (s1wyif, K1) to last 2st, K2tog
Thereafter work patt as:
Ws rows: P1, (s1wyib, P1) to end
Rs rows: P1, K1 (s1wyif), K1) to last st, P1
Next time you dec:
Rs row: ssk, (s1wyif, K1) to last 3st, s1wyif, K2tog
50g balls
Then the pattern is back to how it was before. 100% Australian Alpaca – 2, 4, & 8 ply
83% Australian Alpaca in Boucle – 10 ply
70% Australian Alpaca / 30% Silk – 1 ply
Pointy ended necktie Shade card available

Using 4mm (US 6) needles and colour 1, cast on 1 st and

purl it.
Switch to 5mm (US 8) needles.
Row 1 (rs) col 2: M1, s1wyif, M1 =3st Shop online at
Row 2 col 3: K1, P1, K1 www.alpacaultimate.com.au
Row 3 col 1: M1, s1wyif, K1, s1wyif, M1 =5st
Row 4 col 2: K1, P1, s1wyib, P1, K1 A Member of
Row 5 col 3: M1 (K1, s1wyif) 2 times, K1, M1 =7st
Row 6 col 1: K1 (s1wyib, P1) 3 times Owned by Lualto Alpacas, Yass, NSW • 02 6227 3158 • 0429 783 575

www.artwearpublications.com.au Issue No 35 YARN 11

Y35 Tie pg10.indd 11 7/9/2014 10:22:59 PM

 Row 7 col 2: M1 (s1wyif, K1) to last st, s1wyif, M1 =9st Row 21 col 1: K1 (s1wyif, K1) to end
Row 8 col 3: K1 (P1, s1wyib) to last 2st, P1, K1
Row 9 col 1: M1 (K1, s1wyif) to last st, K1, M1 =11st Straight bottomed necktie
Row 10 col 2: K1 (s1wyib, P1) to end Using 4mm (US 6) needles, cast on 21 st in colour 1.
Row 11 col 3: as row 7 =13st Purl one row.
Row 12 col 1: as row 8 Switch to 5mm (US 8) needles.
Row 13 col 2: as row 9 =15st Work rows 1 and 2 of patt for 5cm (2in), alternating the
Row 14 col 3: as row 10 3 colours
Row 15 col 1: as row 7 =17st
Row 16 col 2: as row 8 Both neckties
Row 17 col 3: as row 9 =19st *Continue repeating the 2 rows of patt, alternating the
Row 18 col 1: as row 10 3 colours, for 7.6cm (3in), then dec 1 st at each end as
Row 19 col 2: as row 7 =21 st described at beg of pattern. Rep from * until you have
(pointy shaping complete) 5st remaining. [=8 times in total=61cm (24in) long]
Row 20 col 3: K1, P1 (s1wyib, P1) to last st, K1 Work in patt on these 5st for 51cm (20in)
Inc 1 st at each end (=7st) and
work in patt for 10cm (4in)
Inc 1 st at each end (=9st) and
work in patt for 12.5cm (5in)

Pointy ended necktie

Row 1 (rs row): Ssk, K1, (s1wyif,
K1) to last 2st, K2tog
Row 2: P1, (s1wyib, P1) to end
Row 3: Ssk, (s1wyif, K1) to last
3st, s1wyif, K2tog
Row 4: K1, P1, (s1wyib, P1) to
end, K1
Row 5: Ssk, K1, K2tog
Row 6: P1, s1wyib, P1
Row 7: K3tog
Slip remaining st off needle,
enlarge loop, and pass yarn
through loop to cast off.

Straight bottomed necktie:

Work in patt for 2cm (¾in) more,
then cast off using 4mm (US 6)
needles.

Finishing
Sew in ends of yarn. Block tie
by soaking it in warm water,
squeezing out, then laying it flat
on a towel to dry with the edges
pinned. Pull out and pin the points
or corners. Ensure the pattern
sits in straight lines. When dry,
position the piece of ribbon
horizontally across the wrong
side of the tie, 30.5cm (12in) up
from the wide end. Stitch the ends
down. When the tie is worn, slip
the narrow end of the tie under
the ribbon to keep it in place.

12 YARN Issue No 35 www.artwearpublications.com.au

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 Edward
(the Kitchen Garden Bear)
By Jenny Occleshaw

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 Edward
(the Kitchen Garden Bear)
By Jenny Occleshaw

Yarn for bear 150g (just over 5oz) of 8ply (CYCA #3)
mohair or other yarn suitable for felting, such as alpaca,
wool, or an alpaca/wool or angora blend (superwash
or machine washable is NOT suitable). Do not use pure
angora as it will shrink too much (making a small bear with
big clothes!)
Needles and notions (for bear) 5mm (US 8) needles;
medium weight iron on interfacing; Fray Stop or similar;
tea bags; sewing cotton; polyester fibre fill; 10 x 10cm
(4x4inch) square beige or brown felt; brown and black
embroidery cotton; set of 20mm bear joints; 1 pair of 8mm
safety eyes; doll needle or long needle; erasable fabric pen;
cardboard for tracing pattern; sewing machine if desired
- the bear can be completely hand sewn or sewn on the
sewing machine except for head gusset and paw pads.
Finished Size 31cm (12in) high from ear tips to toes
Abbreviations PSSO=pass slip stitch over; SL=slip;
M1=make 1, pick up the loop which lies between the two
needles and knit into the back of it, place on right hand
needle; INC=Increase, knit into front and back of next
stitch; TBL=through back of loops

This little bear has great character. He is made from hand knitted then felted (fulled) fabric and has colourful knitted
clothes, just right for a day in the garden. This bear is friends with fellow bears that I have made for The Stephanie
Alexander Kitchen Garden Foundation. They work hard helping the children with cooking and gardening. I am sure that this
little chap would be equally at home in your garden. Take your time with the features and stuff him really well.

Bear piece in a zipped cushion cover (bra bag). Add a towel or

The first thing to do is knit your bear fabric, ready for jeans and six tennis balls to the load. Put through a cycle.
felting (fulling). This is done by knitting your feltable Repeat if necessary, to get 40 percent shrinkage. For a
yarn into a garter stitch piece and then felting it in the top-loading washing machine, put the knitted piece in
washing machine. Cast on 50 sts and knit all rows until a zipped cushion cover (bra bag) and use a short, hot
all balls have been knitted up. Cast off. Darn in your ends. cycle with no spin, followed by quickly immersing the
For the brown bear, I dyed my knitted piece prior to piece in cold water to cause the felting.
felting as I think the dye takes better. To do this, put a Once your felted piece is dry, iron the interfacing to
saucepan on the stove with a good handful of teabags. the smooth side. This just gives the fabric a bit more
Don’t use loose leaf tea as you will never get the tea stability and helps the pieces retain their shape well
leaves out of the fabric. Once the water is boiling and when you are stuffing them.
you have a rich colour, immerse your knitting and Trace all your bear pattern pieces on to card. I find
swirl around with a wooden spoon until it is evenly this the easiest way. Then you can just draw around
coloured. You can turn the heat off and leave it a bit the card onto the interfacing side of the bear fabric you
longer to take on a darker hue if you prefer. Take the have made. Ensure that you cut out the arms and legs
piece out and rinse in cold water with a tablespoon in reverse. Cut out the ear linings and paw pads from
of salt and then fresh water. You should find that the felt. If preferred, at this stage you can treat all the edges
dye is quite set. If the fabric is too pale, just repeat the lightly with Fray Stop.
process. Leave to dry and then felt the piece in your Sew the head first. Place two head pieces together,
washing machine. I have a front loading machine and right sides facing and stitch from the neck up to the
follow the following procedure. point of the nose. Use a very small, tight, back stitch
For a front-loading washing machine put the knitted seam. Next, sew in the Head Gusset. Begin at the point

14 YARN Issue No 35 www.artwearpublications.com.au

Y35 Bear pg13.indd 14 7/9/2014 10:30:29 PM

 of the nose and sew in one side �irst and then the other
side. Pinning in place is very helpful to get an even
result. Once the gusset is in place, turn the head the
right way out. Mark where you would like the eyes to
go (generally along the gusset seam and about halfway
along) either with an erasable fabric pen or use pins
to evenly mark the position. Use the tip of the scissors
to make a tiny hole to put the safety eye through and
position the safety eyes in place. Stuff the bear head
�irmly, paying particular attention to the nose.
Place and ear lining together with an ear, right sides
together. Stitch in place, using a �irm back stitch seam.
Leave the bottom edge open. Turn the right way out.
Close the bottom edge and then slightly pinch together
to form a crease. Pin the ears in place on the head and
sew in place, maintaining the crease. A doll needle or
longer needle can be helpful here.
For the Arms and Body, with right sides together stitch
pieces together, leaving an opening where indicated.
Turn the right way out. Note: the joints for the arms
and legs will be inserted prior to the arms, legs and
body being stuffed. Mark the positions for the arms and
legs on the outside of the body as this is very helpful for
getting the placement even. Attach a joint �irst to the
arm and then through into the body. Secure as directed
on the packet. Repeat for the other side.
For the Legs, stitch the legs in the same manner
as the arms, leaving the sole open and side opening
for stuf�ing. Turn right side out. Place the felt sole in
position. Pinning at the heel and toe can be helpful.
Stitch in place using 3 strands of brown embroidery
cotton and blanket stitch. Repeat for the other leg.
Attach the joints to the legs and then to the body in the
same manner as you did for the arms.
Stuff the arms and legs, closing the seam using
mattress stitch, then stuff the body. Next, attach the
head to the body. Check that there is suf�icient stuf�ing
in the neck and then pin in place. Use a long needle and
double cotton and stitch in place very �irmly all round
several times, checking for a good secure connection
with no wobble and no stray ends. Nobody wants a
teddy with a wobbly head. Give your teddy a bit of a
brush with a teddy brush or a cat brush and he will be
ready to receive his fabulous garments.

Cardigan
Yarn, needles and notions required 3mm (US 3)
needles; tapestry needle; less than 25grams or 1oz of 4
shades of 4 ply (CYCA #1) sock wool
Cardigan is worked in stripes of 2 colours of each shade
once the garter stitch border has been worked. Carry the
colours not in use up the side, being careful not to pull
them tightly.
Back
Using 3mm needles and main colour, cast on 35sts.
Work 6 rows garter st. Work in st st stripe pattern until

www.artwearpublications.com.au Issue No 35 YARN 15

Y35 Bear pg13.indd 15 7/9/2014 10:31:03 PM

 work measures 13cm (5in) from beg, working last row and left this portion of the seam unsewn. Darn in any
on wrong side. further loose ends.
Shape shoulders Overalls
Keeping stripe pattern correct, cast off 5sts at the beg of Yarn, needles and notions required 3mm (US 3)
next 4 rows. Cast off rem sts. needles; tapestry needle; less than 25grams or 1oz of 2
Left Front shades of 4 ply (CYCA #1) sock wool (I used a solid blue
Using 3mm needles and main colour, cast on 17sts and and a variegated yarn)
work 6 rows garter st as for back. Work in st st stripe Edward is a plump bear with big feet and so his wide leg
pattern as for Back until there are 10 rows less than overalls and bib front overalls are a good choice as they
Back to beg of shoulder shaping, working last row on stay up well. His bright scarf keeps him warm.
wrong side**. Legs (make 2)
Work 1 row stripe patt. Using 3mm needles and chosen colour, cast on 50sts.
Shape Neck Work 6 rows garter st, then work 10 rows st st. Continue
Keeping stripe patt correct cast off 3 sts at beg of next in st st and dec 1 st at each end of alt rows until 36sts
row [14sts]. Dec one st at end (neck edge) of next and rem. Work a further 7 rows st st, ending with a purl
foll alt rows until 10 sts rem. Work 1 row stripe patt. row. Cast off 3sts at beg of next 2 rows. Work a further
Shape Shoulder 13 rows K1, P1 rib. Cast off in rib. Make another leg to
Keeping stripe patt correct, cast off 5 sts at beg of next match.
row. Work 1 row stripe patt. Cast off rem 5 sts. Bib
Right Front Using 3mm needles and contrast colour, cast on 18sts.
Work as for Left Front to ** Work 4 rows gt st.
Keeping stripe patt correct, cast off 3 sts at beg of next Next row: K
row (right side) [14sts]. Dec 1 st at beg (neck edge) of Next row: K1, purl to last st, K1.
foll alt rows until 10sts rem. Work 2 rows stripe patt. Rep the last 2 rows seven times. Knit 4 rows garter st.
Shape Shoulder Cast off.
Work as given for Left Front Shoulder Shaping. Straps (Make 2)
Sleeves Using 3mm needles and contrast colour, cast on 35sts.
Sleeves are worked in 1 colour only. Using 3mm needles Work 4 rows garter st. Cast off.
and chosen colour, cast on 27sts. Work 6 rows garter st. To Make Up
Work in st st, Inc 1st at each end of 3rd and foll alt rows Place the ribbed part of the pants together, right sides
until there are 39sts. Cont without further shaping until together. Stitch together, along crotch seam and then
work measures 10cm (4in) working last row on wrong stitch the leg seams. Turn the right way out. Put on bear.
side. Line the bib up centrally on the front part of the pants
Shape Sleeves with the garter stitch at the top and bottom. Stitch in
Cast off 6 sts at beg of next 4 rows. Cast off rem 15sts. place. Stitch the straps with a 1.5cm space either side
Work 2nd sleeve to match. of the back seam and then cross over before stitching in
Collar place on front of bib.
Using 3mm needles and chosen colour, cast on 57sts.
Work 10 rows garter st.
Scarf
Next row: K4, *K2tog, K1, rep from * to last 5 sts, K5
Yarn, needles and notions required small amount of
[41sts].
Angora or similar soft, fluffy yarn, in 4 ply (CYCA #1);
Knit one row. Cast off 6sts at beg of next 4 rows. Cast off
3mm (US 3) needles; tapestry needle
rem 17sts.
Using 3mm needles and Angora or other fluffy yarn,
Right Front Band cast on 85sts. Work 6 rows garter st. Cast off. Darn in
Lightly press pieces if needed and darn in all loose ends.
ends. Knot around bear’s neck.
This is best done first as it makes finishing easier and
neater. With right sides together, join shoulder seams.
Congratulations, your Garden Bear is now complete.
With right side facing pick up and knit 28sts along front
edge. Work 5 rows garter st. Cast off.
Templates are on pages 17 and 46.
Left Front Band
Repeat as for Right Front Band. I hope you enjoyed this Drop Stitch Original Design.
To Make Up For assistance with patterns contact
Fold the sleeve in half and line up side body seam to jennyoccleshaw@hotmail.com or
underarm seam. Sew sleeve seam and then under arm www.dropstitchdesign.com
seam. On this bear I folded the cardigan cuffs back

16 YARN Issue No 35 www.artwearpublications.com.au

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 See page 46 for arm template.

www.artwearpublications.com.au Issue No 35 YARN 17

Y35 Bear pg13.indd 17 7/9/2014 10:32:01 PM

 18 YARN Issue No 35 www.artwearpublications.com.au

Y35 Simple socks pg18.indd 18 7/9/2014 10:33:41 PM

 Simple Socks Socks
Using 2.25mm (US 1) needles and C, cast on 61(67, 77,
83) sts.
(knitted without dpns or circulars) Row 1: K2, * P1, K1, rep from * to last st, K1.
By Wendy Knight Row 2: K1, * P1, K1, rep from * to end.
Rep last 2 rows 4(4, 5, 6) times.
Yarn Patons Patonyle (&/or Patonyle Magic) in 50g or
Change to M. Work 4(6, 18, 40) rows stocking st.
100g ball size 80% merino wool, 20% nylon, Colours
Shape Leg
#5557 Kelp Forest (Patonyle Magic) #1028 Violet (14wpi,
CYCA #1, Sock weight) EITHER 1(1, 2, 3) balls Main Next row: K2, K2tog, knit to last 4 sts, sl 1, K1, psso, K2.
Colour (M) and 1(1, 2, 2) balls Contrast Colour (C) of Dec one st (as before) at each end of every foll 4th(6th,
50g/1.75oz, 187m/204yds balls, OR 1(1, 1, 2) balls Main 6th, 6th) row until 51(55, 61, 67) sts rem.
Colour (M) and 1 ball Contrast Colour (C) of 100g/3.5oz, Cont without further shaping until Sock measures 12
374m/409yds balls. (16, 22, 29)cm or 4¾(6, 8.5, 11.5)inch from beg, ending
Needles and Notions 2.25mm (US 1) needles; an extra with a purl row and dec one st in centre of this row, for
2.25mm (or smaller) knitting needle; stitch holder or
a total of 50[54, 60, 66]sts.
length of scrap yarn; tapestry needle.
Abbreviations M=Main colour; C=Contrast colour; see
Break off M.
Stitch Guide for other abbreviations. Begin Heel
Tension 35 sts and 46 rows to 10cm (4in) in st st, using **Slip �irst 13(14, 15, 17) sts of row onto right-hand
2.25mm (US 1) needles. needle, slip next 24(26, 30, 34) sts onto stitch holder or
Measurements To fit foot length 14(18, 24, 27)cm or scrap yarn and leave for instep, slip the rem 13(14, 15,
5.5(7, 9.5, 10.5)in; sock leg length 12(16, 22, 29)cm or 17) sts onto the extra needle (diagram step 1, noting that
4¾(6, 8.5, 11.5)in.
actual st numbers will vary from diagram), then turn work.
With wrong side facing, join C to inside edge of �irst
Working on a regular pair of needles with self-patterning group of sts slipped at beg of heel (diagram step 2),
yarn and strategically placed seams, with this pattern P13(14, 15, 17), then with wrong side facing, P13(14,
you can produce some fancy foot-work without tackling 15, 17) from the extra needle. These 26(28, 30, 34) sts
double pointed needles (dpns). are for the heel.

nt ag e
e lo ve of vi
S ha ri ng th
The Sophisticated 30s
Chrissy Keepen
ce (The Lindy
Charm School
for Girls)

T he 1930s saw through

opened in a depressi
a decade that

Style
war. Throughout on and ended
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the 1920s, economi

Design
worldwide had es
been booming
bringing prosperit and

Read
y to ordinary people

Sew
gambled their who
spare cash on
shares. In 1929 stocks and
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a period of depressi
1932 there was on. By
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out of work. With people
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Volume 1 $ beauty, fashion about

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and glamour.
Escapism was
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‘Gone with the afford.
Wind’ was the
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Demystifying Pin Curls

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For women, being y.
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they were support but it also showed
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Lauren Rennells women to ‘Put es encouraged
Their
Forward’ to boost Best Face
soldiers. Possess the morale of
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n today’s world of retro beauty, there
Iare hundreds of resources offering
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Celebrate
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www.artwearpublications.com.au Issue No 35 YARN 19

Y35 Simple socks pg18.indd 19 7/9/2014 10:34:25 PM

 STEP 2 (wrong side)
purl hee
l sts in
direct
ion o
STEP 1 (right side) f arro
ws
extra needle
join yarn here extr
a nee
dle

Row 1: Sl 1, knit to end. you want to vary length of sole, remember to allow for
Row 2: Sl 1, purl to end. 3(4, 4, 5)cm or 1.2(1.5, 1.5, 2)in for toe shaping.
Rep last 2 rows 10(12, 14, 15) times. Shape Toe
Turn Heel Row 1: K1, sl 1, K1, psso, knit to last 3 sts, K2tog, K1.
Next row: K15 (16, 17, 19), sl 1, K1, psso, K1, turn. Row 2: Purl.
Next row: P6, P2tog, P1, turn. Rep last 2 rows until 10(10, 12, 12) sts rem, ending with
Next row: K7, sl 1, K1, psso, K1, turn. a purl row.
Next row: P8, P2tog, P1, turn. To Finish Lower Toe
Cont in this manner until the row “P14(16, 16, 18), Either break yarn and leave sts on the extra needle
P2tog, P1, turn” has been worked. ready for grafting later, or cast off rem sts.
2nd size only: Work Instep
Next row: Knit to last 2 sts, sl 1, K1, psso. With right side facing and using 2.25mm needles, rejoin
Next row: Purl to last 2 sts, P2tog, for a total of 16 sts. M to rem 24(26, 30, 34) sts from stitch holder or scrap
All sizes: yarn. Cont until instep measures same as side edge of
You should now have 16(16, 18, 20) sts. All heel sts are sole to beg of toe shaping, ending with a purl row.
now on one needle. Break off yarn. Shape Toe
With right side facing, re-join C at edge of instep and Change to C.
using the 2.25mm (US 1) needle NOT holding heel sts, Row 1: K1, sl 1, K1, psso, knit to last 3 sts, K2tog, K1.
knit up 12(14, 16, 17) sts along right-hand side of heel Row 2: Purl.
flap, knit across 16(16, 18, 20) heel sts, then knit up Rep last 2 rows until 10(10, 12, 12) sts rem, ending with
12(14, 16, 17) sts along left-hand side of heel flap. a purl row.
Cont on these 40(44, 50, 54) sts for sole of sock. To Finish Upper Toe
Next row: Purl. Either break yarn, leaving a long end, then graft upper
Next row: K1, sl 1, K1, psso, knit to last 3 sts, K2tog, K1. and lower toe sts tog OR cast off rem sts.
Rep last 2 rows until 24[28, 30, 34]sts rem.
Cont without further shaping until foot measures 6(9, Finishing
14, 16)cm or 2.3(3.5, 5.5, 6.3)inch from side of heel With a slightly damp cloth and warm iron, press lightly
where sts were knitted up, ending with a purl row. If on wrong side. Join all seams using a flat seam.

20 YARN Issue No 35 www.artwearpublications.com.au

Y35 Simple socks pg18.indd 20 7/9/2014 10:35:17 PM

 Yarnosaurus Family:
Splashosaurus
By Robynn-El Ross

Also known by its scientific name

of Yarnosaurus Mermaidus, the
Splashosaurus population is under
threat in the oceans around Australia.
Although few sightings have been validated,
the Splashosaurus has been known to inhabit
rock pools at beaches. To escape from predators,
including humans, Splashosaurus’ tone deaf
singing works every time. Her wild, multicoloured
hair camouflages her body amidst the coral and the
extra spikes on her back enable her to have lightning
speed underwater, explaining why the Splashosaurus
has never been successfully photographed.
www.artwearpublications.com.au Issue No 35 YARN 21

Y35 Splash pg21.indd 21 7/9/2014 10:38:14 PM

 Yarnosaurus Family: Splashosaurus Body
Worked in 1 piece from the tail to the head.
Tail flipper

Splashosaurus Make 2 in garter stitch. Using colour B, cast on 4 sts.

Row 1: K1, kfb in next 2 sts, k1. [6 sts]
Rows 2, 4, 6, 8, 10, 12-14, 16-18: Knit.
By Robynn-El Ross
Row 3: K1, kfb, k2, kfb, k1. [8 sts]
Yarn Bendigo Classic 8 ply pure wool (200g ball/7oz, Row 5: K1, kfb, k4, kfb, k1. [10 sts]
400m/440yds, 14wpi, CYCA#3, Double Knit weight, Row 7: K1, kfb, k6, kfb, k1. [12 sts]
machine washable) 1 ball each of Poseidon #743, Coral Row 9: K1, kfb, k8, kfb, k1. [14 sts]
#752 and Dark Plum #738. You will need approx 50g Row 11: K1, kfb, k10, kfb, k1. [16 sts]
Poseidon, 100g of Coral and a small amount of Dark Plum.
Row 15: K1, kfb, k12, kfb, k1. [18 sts]
Needles and notions 3.25mm (US 3) DPNs or 3 short
Row 19: K1, kfb, k14, kfb, k1. [20 sts]
straight needles; 15cm (6in) piece of 7mm (.25in) dowel;
polyester stuffing; tapestry needle. For the eyes, you Rows 20-22: Knit.
will need a small piece of white felt, coloured fineliner Break wool after the first flipper is completed, leave on
pens plus needle and thread to attach, see Notes. Black needle and work the second one. Slip the second one
embroidery thread or a scrap of wool can be used to stitch onto the same needle and continue using the ball.
the mouth. Rows 23-32: Knit. [40 sts]
Size Full length is 39.5cm (15.5in). Row 33: (K4, k2tog) six times, k4. [34 sts]
Abbreviations k2tog/k3tog=knit 2/3 together (right
Row 34: Knit.
leaning decrease); ssk=slip, slip, knit the 2 sts tog (left
leaning decrease); m1=make 1 (as a raised inc); kfb=knit
Row 35: (K4, k2tog) five times, k4. [29 sts]
into the front and back of the same stitch (inc 1s). Row 36: Knit.
Notes Coral #752 is colour A; Poseidon #743 is colour Tail
B. The head, hands, arms and ears use colour A only. The The tail includes the two flippers in Poseidon once
repeat pattern for the Splashosaurus skin texture consists joined, plus the Poseidon and Coral “leg” area up to her
of four rows. Rows 1 and 2 are purl rows in A, while Rows 3 waist. In groups of 4 rows, follow the repeat pattern
and 4 are knit rows in B for the arms, legs and the body up
from Row 36-100 of the tail and 1-38 of the body.
to the neck. Please note that liner pens are not waterproof
Rows 1and 2: Purl in colour A.
and are therefore not suitable if Splashosaurus is to be
made for a small child. It would be safer and longer lasting Rows 3 and 4: Knit in colour B. As each pair of rows is
to embroider the eyes. completed, twist the wool before commencing the next
colour at the beginning of the row.
Rows 37-38: Join colour A and purl.
Rows 39-40: Knit.
Rows 41-44, 45-48, 49-52, 53-56, 57-60, 61-64, 65-
68: As Rows 37-40.
To give her tail a curl, cast off 1 st at the beginning and
cast on 1 st at the end of Rows 69, 71, 73, 75, 77 and
79 while keeping the pattern repeat from Rows 69-72,
73-76, 77-80. This slants the knitting to the left and
keeps 29 sts on the row.
Rows 81-82: Purl.
Row 83: K4, (kfb, k3) five times, kfb, k4. [35 sts]
Row 84: Knit.
Rows 85-86: Purl.
Row 87: K1, (kfb, k7) four times, kfb, k1. [40 sts]
Row 88: Knit.
Rows 89-90: Purl.
Row 91: K5, (k2tog, k5) five times, [35 sts]
Row 92: Knit.
Rows 93-94: Purl.
Row 95: K1, (k2tog, k4) twice, k2tog, k5, (k2tog, k4)
twice, k2tog, k1. [29 sts]
Row 96: Knit.
Rows 97-98: Purl.
Row 99: K2, k2tog, k3, (k2tog, k4) twice, (k2tog, k3)
twice. [24 sts]

22 YARN Issue No 35 www.artwearpublications.com.au

Y35 Splash pg21.indd 22 7/9/2014 10:39:07 PM

 Row 100: Knit. End colour B and continue in A only
with the pattern repeat.
Body
Rows 1-4, 5-8, 9-12: As Rows 37-40 of tail.
Rows 13-14: Purl. into stitches
Row 15: K1, m1, k22, m1, k1. [26 sts]
Row 16: Knit. 8 Aug – 7 Dec
Rows 17-18: Purl. National Wool Museum
Row 19: K1, m1, k24, m1, k1. [28 sts]
Row 20: Knit. These are not
Row 21-22: Purl.
Row 23: K1, m1, k26, m1, k1. [30 sts]
your usual
Row 24: Knit. animal skins!
Rows 25-28: As Rows 37-40 of tail.
Artist Ruth Marshall,
Row 29: P6, p2tog twice, p10, p2tog twice, p6. [26 sts]
showcases her
Rows 30-32: As Rows 38-40 of tail.
intricate hand knitted
Row 33: P2, (p2tog, p1) three times, p2tog twice, (p1,
p2tog) three times, p2. [18 sts] one-of-a-kind textiles
Row 34: (P2, p2tog) four times, p2. [14 sts] in this truly unique
Rows 35-36: Knit. exhibition.
Rows 37-38: Purl. This is the neck area. From here on,
Workshops are
use stocking stitch to complete the head. Knit odd rows
available.
and purl even rows.
Rows 39-40: St st.
Row 41: (K1, m1) three times, k2, k�b in next 4 sts, k2, national
(m1, k1) three times. [24 sts] wool
museum
Row 43: (K1, m1) three times, k5, k�b in next 8 sts, k5,
nwm.vic.gov.au
(m1, k1) three times. [38 sts]
Row 45: K1, m1, k10, m1, k1, m1, k3, m1, k8, m1, k3,
m1, k1, m1, k10, m1, k1. [46 sts]
Rows 46-50: St st.
Row 51: K10, k2tog twice, k18, k2tog twice, k10. [42 sts]
Row 53: K10, k2tog twice, k14, k2tog twice, k10. [38 sts]
Row 55: K10, k2tog twice, k10, k2tog twice, k10. [34 sts]
Row 57: K10, k2tog twice, k6, k2tog twice, k10. [30 sts]
Row 59: (K1, k2tog) twice, k18, (k2tog, k1) twice. [26 sts]
Row 61: (K1, k2tog) twice, k14, (k2tog, k1) twice. [22 sts]
Rows 62-64: St st.
Row 65: (K1, k2tog), knit to last 3 sts, k2tog, k1. [20 sts]
Row 67: (K1, k2tog) six times, k2. [14 sts]
Row 69: (K1, k2tog) four times, k2. [10 sts]
Row 71: (K2 tog) �ive times. [5 sts]
Row 72: Cast off in purl, leaving a tail for sewing the
head later.

Hand and arm

Make 2 in stocking stitch. Using colour A, cast on 8 sts.
Row 1: Knit.
All even rows: Purl.
Row 3: K1, m1, k6, m1, k1. [10 sts]
Row 5: K1, m1, k8, m1, k1. [12 sts]
Row 7: K1, m1, k10, m1, k1. [14 sts]
Row 9: K1, m1, k12, m1, k1. [16 sts]
Row 11: K1, ssk, k10, k2tog, k1. [14 sts]
Row 13: K1, ssk, k8, k2tog, k1. [12 sts]
Row 15: K1, ssk, k6, k2tog, k1. [10 sts]

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 Rows 16-18: St st. All odd Rows: Knit.
Add colour B for a bracelet and begin the 4 row Row 2: Cast on 1, k 4. [4 sts]
pattern repeat. Row 4: Cast on 2, k6. [6 sts]
Rows 1-2: Purl. Break of B and continue in A only for Row 6: Cast off 2, k3. [4 sts]
the rest of the arm. Row 8: Cast off 2, k1. [2 sts]
Rows 3-4: Knit. Row 10: K1, m1, k1. [3 sts]
Repeat this 4 row sequence ten times, then shape Row 12: Cast off 1, k1. [2 sts]
the top. Row 14: K2tog and end off.
Row 1: (P1, p2tog) four times, p1. [7 sts]
Row 2: Purl. Construction
Row 3: (K1, k2tog) twice, k1. [5 sts] To sew the seams, use the tail ends from casting on.
Row 4: K1, k2tog, k2tog. [3 sts] Other ends can be neatly woven at the back of your
K3tog to end off. knitting with a tapestry needle. When you fill a section
with stuffing, make sure you do not stretch the knitting.
Ears Body
Make 2 in garter stitch. Using colour A, cast on 9 sts. Fold the body piece to the middle, to make a seam down
Rows 1-4: Knit. the centre back. With mattress stitch in B, carefully
Rows 5-7: K2tog at beg and end of each row. [3 sts] match the ridges as you sew from the waist down to the
Row 8: K2tog, k1. [2 sts] top of the flippers and 3cm down the garter stitch to
Row 9: K2tog and end off. match the front. Sew each flipper curve carefully from
the bottom point to where it meets the centre seam.
Frill Stuff the flippers.
Make 1 in garter stitch. I used cable cast on when adding Use the tail end at the head to mattress stitch down to
sts to the beg of a row. The frill is made up of a series the neck. Fill the top half of the head with stuffing to
of spikes (they are not cast off, they are worked as a form a cushion for the dowel. Insert the dowel, poking
continuous series). In B, cast on 2 sts. it up first through the neck to sit on the padding. Little
1st and 2nd spike (small) by little, pad the rest of Splashosaurus’ body. Make
All odd Rows: Knit sure to pad around the dowel so it stays in the central
Row 2: Cast on 2, k 4. [4 sts] position and emphasize the flippers, curvy hips,
Row 4: Cast on 2, k6. [6 sts] shoulders and cheeks.
Row 6: Cast off 2, k3. [4 sts] Arms
Row 8: Cast off 2, k1. [2 sts] Use mattress stitch to sew from the finger to the top
Repeat Rows 1-8 once. ridge. Stuff the hand only. The arm seam faces the side
3rd spike (medium) of the body. Attach the arms to the second last ridge at
All odd Rows: Knit. the shoulder placement.
Row 2: Cast on 3, k5. [5 sts] Frill
Row 4: Cast on 2, k7. [7 sts] Pin the frill against Splashosaurus, starting at the base
Row 6: Cast off 2, k4. [5 sts] of the centre back seam where the ridge pattern begins.
Row 8: Cast off 2, k2. [3 sts] The sixth spike is centred over the waist, the ninth sits
4th, 5th, 6th, 7th and 8th spikes (large) at the back of the neck, the fourteenth sits at the top of
Rows 1 – 3: Knit. the head and the tiny end one sits on the forehead. Sew
Row 4: Cast on 3, k6. the frill in place to ensure each spike stands upright.
Rows 5 – 7: Knit. Ears
Row 8: Cast on 3, k9. Fold the base of each ear to give a curve and pin them
Rows 9 – 11: Knit. on the head, more towards the back. The ears lie 3.5cm
Row 12: Cast off 3, k5. [6 sts] apart at the back, approx 1.75cm away from the centre
Rows 13 – 15: Knit. back seam.
Row 16: Cast off 3, k2. [3 sts] Eyes
Repeat Rows 1–16 four times. Draw or embroider your own (see Notes) or follow
9th, 10th, 11th, 12th and 13th spikes (medium) my example. I drew the shape on white felt and used
All odd Rows: Knit. coloured fineliner pens to fill in and outline detail. I cut
Row 2: Cast on 2, k5. [5 sts] each eye out, making sure they were even and sewed
Row 4: Cast on 2, k7. [7 sts] them onto the face with tiny stitches and cotton. Then
Row 6: Cast off 2, k4. [5 sts] I went over the outside pen detail to cover my stitches.
Row 8: Cast off 2, k2. [3 sts] Mouth
14th spike (small) and tiny spike To ensure the mouth was properly shaped, I tacked

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 tiny stitches in a bold colour as a base line. When I was
happy with the shape, I used four strands of embroidery
thread and chain stitched over this line, then I pulled
the cotton out.
Splashosaurus’ hair
Cut 20cm (8in) lengths of novelty yarn by winding
around a small rectangular container to suit, then cut
across to make individual lengths. Use a crochet hook to
latch threads into her head. Fold each length in half and
hold approx 1cm from the loop. Start at the bottom of
her head at the back. Hook the threads equally on both
sides of her head spikes for symmetry, one length at a
time. Put the crochet hook under a whole knit stitch,
through the loop made when yard is folded in half, and
hook the yarn through the loop to knot.

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 26 YARN Issue No 28 www.artwearpublications.com.au

Y35 subs pg56.indd 26 7/14/2014 7:18:34 PM

 Handy
Wrist Warmers
By Eva Steinkamp

Although I live in Queensland, the

evenings during the cooler autumn
and winter months can get quite cold.
Without any heating inside our house,
my hands and wrists get cold. I don’t
like wearing restrictive gloves, but
these fingerless and thumbless mitts
allow enough freedom to use my fingers
without any restriction whatsoever.
The pattern and shape is so simple that
you can knit them over a weekend. If
you like knitting them as much as I do
you might want to knit a second and
third pair for your family and friends.

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Y35 Gloves pg27.indd 27 7/9/2014 10:43:59 PM

 Handy . . . . .
Wrist Warmers
By Eva Steinkamp
Mitts
Yarn Fibreworks Australian Merino 8ply 100% 18 micron With 4mm (US6) DPNs cast on 30 (35)sts. Divide sts to
wool (100g/3.5oz, 190m/209yds, 10wpi, equiv Aust 8ply, 3 DPNs and join to work in the round, being careful not
CYCA #3-4, DK-Worsted weight) 1 skein Colour #19 Red Rock to twist sts. Place a marker between the first and last
Needles and notions 5mm (US8) DPNs; 4mm (US6) sts of the round.
DPNs; 3 stitch markers; tapestry needle Round 1: knit
Tension 23 sts and 24 rows to 10cm (4inch) in pattern,
Round 2: purl
unblocked.
General Notes The left and right mitts are identical. The
Round 3: knit
cable is created by twisting 3 stitches in the following way: Round 4: purl
take your right needle behind the knitting and go into the Change over to 5mm (US8) DPNs.
back loop of the third stitch on your left needle. Pull the Round 5: knit
yarn through, then knit the first and second stitch and Round 6: *knit cable over 3 sts (follow instruction in
drop the third one (you knitted this sts first). Make sure Notes), p2*, repeat from *to* to end of round
that you always have the same amount of sts on your dpns
Rounds 7-24: work Rounds 5-6 nine times for small
(10 sts per needle for the small size).
size OR
Stitch Pattern Notes The mitts are knitted from the
fingers down to the wrist. The pattern has a repeat of two Rounds 7-30: work Round 5- 6 twelve times for larger
rows and 5 stitches. The pattern is repeated 6 times (small size OR until you reach the desired length from the tip
to medium size), or 7 times (large size) in a round. The of your little finger to the base of your thumb.
number in brackets relates to the larger mitt size. Thumb Gusset

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 Round 25(31): turn knitting around and cast on
10(14)sts for the thumb gusset onto the last needle of
the round, turn knitting around again and knit until you
reach the gusset sts you just cast on, k10(14)sts onto an
extra dpn (you will be working with 4 dpns), place two
stitch markers to separate these thumb gusset sts
Round 26(32): *knit cable over 3 sts, p2*, repeat from
*to* until the last sts of third dpn; remove stitch marker
and transfer this sts to the needle with the thumb
gusset sts; p2tog onto third dpn and replace sts marker;
p 8(12), transfer the last gusset sts onto the �irst needle
of the round
Round 27(33): k2tog, knit to end of round.
Round 28(34): *knit cable over 3 sts, p2*, repeat from
*to* until the last sts of third dpn; remove stitch marker
and transfer this sts to the needle with the thumb
gusset sts; p2tog onto third dpn and replace sts marker;
p 6(10), transfer the last gusset sts onto the �irst needle
of the round
All Odd Rounds: k2tog, knit to end of round.
Round 30(36): *knit cable over 3 sts, p2*, repeat from
*to* until the last sts of third dpn; remove stitch marker
and transfer this sts to the needle with the thumb
gusset sts; p2tog onto third dpn and replace sts marker;
p 4/8, transfer the last gusset sts onto the �irst needle
of the round
Round 32(38): *knit cable over 3 sts, p2*, repeat
from *to* until the last sts of third dpn; remove stitch
marker and tranfer this sts to the needle with the
thumb gusset sts; p2tog onto third dpn and replace
sts marker; p 2/6, transfer the last gusset sts onto the
�irst needle of the round
For the larger size continue to decrease the thumb
gusset sts in this way two more times.
Round 34(44): *knit cable over 3 sts, p2*, repeat from
*to* until the last sts of third dpn; remove stitch marker
and transfer this sts to the needle with the thumb
gusset sts; p2tog onto third dpn; transfer the last gusset
sts onto the �irst needle of the round
Round 36(46): *knit cable over 3 sts, p2*, repeat from
*to* to end of round
All Odd Rounds: knit
Repeat Round 36(46) - 37(47) six (ten) times or until
you reach the desired length
Change to 4mm (US6) DPNs
Round 50(60): purl
Round 51(61): knit
Round 52(62): purl
Round 53(63): knit
Cast off loosely and sew in the ends.

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 30 YARN Issue No 35 www.artwearpublications.com.au

Y35 Lucy Shrug pg30.indd 30 7/9/2014 10:47:31 PM

 Lucy: an Easy
Vintage Shrug
By Miss Morry

Yarn Tailored Strands 12ply Brushed 100% Australian

alpaca (50g/1.75oz, 99m/109yds, 8wpi, equivalent
Australian 12 ply, CYCA #5, Heavy Worsted weight) 3 balls
Colour #216 Bilberry
Needles and notions 4mm (US 6) and 5mm (US 8) and
6mm (US 10) needles; tapestry needle; tape measure
Tension 22.5sts to 10cm (4inch) on 4mm (US 6) needles
in k2, p2 ribbing
Measurements 78cm (30.75inch) from sleeve edge to
sleeve edge; 42cm (16.5inch) from neck to lower back; will
fit comfortably on smaller to medium sizes. To make the
sleeves longer, work more rows with the 6mm needles.
To make the shrug wider (larger in size), cast on more rib
rows. This type of design can be reworked to fit from a
baby size to as large as you like.
Notes This type of shrug design appears quite frequently
in the 1950s, with this particular style spotted in a 1953
publication. During the 1950s some versions were worked
in subdued eyelets, but none were overly textured or
heavily laced. The only laced designs I could find, of a
similar construction, featured a much larger opening for
the torso, longer sleeves and were made as bed jackets
(not to appear in public)! You can see more reworked
vintage designs at www.etsy.com/shop/MissMorry/ or if
you email the girls at Yarn I could be convinced to share a
few more patterns with you.

Body
With 4mm needles cast on 76sts. Work k2, p2 ribbing
for 3cm (1.2inch). Change to 5mm needles and
continue ribbing for 3cm more. Change to 6mm needles
and continue in ribbing until 72cm (28.5inch) from the
start. Change back to 5mm needles and work in ribbing
for 3cm. Change back to 4mm needles and work in
ribbing for 3cm more. Cast off.

Finishing
Weave in loose ends. Fold in half lengthways and seam
in from the edge 13cm (5inch) either side, to make the
sleeve seams. Try on and seam further or pull some
back for the perfect �it. Break yarn and fasten off.

Photography by Nick Burrows (nbart.com.au); modelled by

Hailey at The Pirate & The Gypsy, on location inside Byron Bay
Lighthouse (with thanks to the Byron Bay Reserve Trust).

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 Great
Grandma’s
knitting
By Jenny Manley

My great grandmother Emma Manley (1862-1947) was I am the daughter of Noel Manley and the fourth
a proli�ic knitter; and the stories and samples of Great generation since the knitting was created for the King
Grandma’s knitting remain a highlight of our family of England. I am a proud knitter and have begun to
history. My grandfather Tom Manley (son of Emma replicate some of my great grandmother’s patterns.
Manley) took great pride in his mother’s knitting and In March this year I was asked to create a beanie for
kept the knitted samples together in an old Bakelite the Duke of Cambridge as a small gift to be presented
suitcase. He was always ready to show it off and during the royal tour to Yulara, Northern Territory. The
especially talk about the blanket she knitted for the beanie was created from camel hair; harvested from the
coronation of King George in 1937. The blanket was camels at the camel farm at Yulara and then sent to me
sent to the King (but not accepted by the royal family at Tura Beach in the south coast of NSW. I borrowed a
due to royal protocol) so the blanket was returned to spinning wheel from the Bega Valley Spinners and with
the family in Merrigum in northern Victoria. In 1954 some guidance and instruction I was able to spin the
newly crowned Queen Elizabeth and Prince Phillip camel hair as well as dye a small sample as a contrast
came to Australia for their �irst of�icial royal tour and colour, and then knit the camel hair into the beanie.
during that time Her Royal Highness Queen Elizabeth The beanie was then returned to Yulara ready to be
and Prince Phillip visited Shepparton, which was very presented to the Duke of Cambridge during his visit
close to the small country town of Merrigum where to the National Indigenous Training Academy (NITA)
my grandfather lived. It was during this visit that at Yulara on Tuesday 22/04/14. I knitted a Fair Isle
my grandfather got in contact with the local Member pattern of 6 kangaroos around the beanie. This pattern
of Parliament Mr Jack McEwan and arranged for the was taken from a photo of Great Grandma’s blanket that
blanket to be presented to Queen Elizabeth. she knitted in 1937 for King George. Now I feel that
Queen Elizabeth accepted the blanket and it returned same sense of pride in producing an article of knitting
with her to Buckingham Palace. A letter was sent to to be presented to the Royal Family.
Tom Manley from the Queen and Government House
con�irming the acceptance of the knitted blanket and
those letters sat pride of place in a frame on his mantle
piece in the lounge room. I have a vivid memory of how
proud grandpa was of his mother and her knitting.
Emma Manley died in 1946 and Grandpa kept her
knitting together. Since his death in 1975 the knitting
has been lovingly cared for by his daughter, Margaret
Marshall until her death in February this year. A family
decision now needs to be made about who will be the
keeper of the family knitting treasure.
Great Grandma knitted with a very �ine 2 or 3 ply wool
and used bicycle spokes for her needles. My dad (Noel
Manley and son of Tom Manley) told me that he would
sharpen the bicycle spokes for his Grandma. They would
bend a bit as she knitted so he would need to replace
them with a new set. Grandma incorporated patterns of
Fair Isle animals, shapes, letters, and messages into her
knitting. The rugs and blankets were knitted in small
sections and then sewn together; they were always
double sided (I guess that was to reduce the need to
sew in the raw ends at the back of her work). She also
knitted scarves, socks, cushions covers, potholders, tea
Jenny Manley spinning the camel for the beanie.
cosies, jumpers and hot water bottle covers.

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 Easier version
by team Yarn.

Kangaroo motif as designed by

great grandmother Emma (used
in the blanket and beanie).

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Y34 Grandmas Knitting pg32.indd 33 7/11/2014 9:29:54 AM

 Crochet
EARRINGS
By Nicole Don

34 YARN Issue No 35 www.artwearpublications.com.au

Y35 Earrings pg34.indd 34 7/9/2014 10:50:09 PM

 Crochet Join with ss. (12 dc).
Round 3: As Round 2 (24 dc).

EARRINGS
Round 4: *Work 2dc into next dc, 1 dc into next dc,
repeat from * to end. Join with ss (36dc).
Fasten off, and weave ends into crochet with tapestry
needle.
By Nicole Don
Work another disc to match.
Yarn Colour Streams Ophir perle 8 thread 100% silk
(15m/16.5yds, 21wpi, equiv Aust 3 ply, CYCA #0, Light Finishing
Fingering weight) shown in Colour #27 Poppy (pink) and If you untwist a length of the crochet yarn, it will split
Colour #50 Blackberry Ripple (purple) into three strands. Pull out one strand and use it to
Needles and notions Crochet hook, size 1.25, seed
attach the beads and earring hooks with the crewel
beads; 2 earring hooks, matching sewing thread (optional),
needle (or use matching sewing thread if you prefer).
tapestry needle, crewel needle, beading needle.
Finished measurement 3cm diameter, 6cm finished Sew the earring hooks onto the earrings, at the point
length (including beads). where the last round was joined. Using the beading
needle, sew the beads on marking the seven points
Earrings for reference. Sew a couple of stitches unobtrusively
To begin, work 4 chain, join into a circle with a slip before the first set of beads, pass the thread through
stitch (SS). the beads, then make a few stitches to anchor the
Round 1: Work 6 double crochet (dc) into circle and beads, before moving to the next section. Pull tightly
join to first dc with a ss. enough to ensure that the beads are sitting snugly
Round 2: Work 2 dc into each dc of the previous round. against the crochet circle.

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 The genesis of this shawl began
in another design. I became
enamoured with the eyelet row
sequence and decided to showcase
it in the body of a shawl, as opposed
to just a humble edging.

Nietta Shawl
By Clare Hacker

Yarn WOOLganic 100% certified organic merino (50g/1.75oz,

208m/228yds, 16wpi, equiv Aust 4ply, CYCA #1, Sock weight) 2
balls Colour Chilli Pepper
Needles and notions 4mm (US 6) 60cm/24in circular needle, 1
stitch marker, tapestry needle
Tension 26sts and 33 rows to 10cm (4ins) in stocking stitch –
unblocked swatch. Please note gauge is not crucial
Finished measurement. 104cm (41in) approx long; 42cm
(16½in) approx. from top to bottom, down centre spine.
Notes Shawl shown has not been blocked
Abbreviations pm=place marker; sm=slip marker; see Stitch
Guide at back for how to work m1l and m1r, plus yo.

36 YARN Issue No 35 www.artwearpublications.com.au

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 For Quality Workshops at

Body
Shawl begins with a garter stitch tab. Worked as follows; 11 - 16 APRIL 2015
using a provisional cast on, cast on 3sts. Knit 7 rows. Enrolments Open 1st September 2014
Pick up and knit sts from long side of garter strip. Undo
provisional cast on, and knit 3sts [9sts cast on].
The BLUE MOUNTAINS, Sydney
Work one row as follows: K3, p2, pm, p1, k3
Following stitch pattern as set, work sequence a total   2 and 4 Day Workshops
Jackie Abrams (USA) - Basketry - woven and covered
of 6 times. Gemma Black (TAS) - Calligraphy - The Broken Black Letter
Peter Browne (QLD) - Playing and writing for guitar
Teresa Dair (VIC) - Modern knitted jewellery
Stitch Pattern Marjolein Dallinga (Canada) - Flowers and form in felt
Carole Douglas (NSW) - Colour your cloth with natures dye
Row 1: K3, m1r, k to marker, m1l, sm, k1, m1r, k to last Fiona Hammond (NSW) - Creative bead jewellery
3 sts, m1l, k3 Gabriella Hegyes (NSW) - Encaustic mixed media
Keith Houston (NSW) - A sharp tool in timber
Row 2: K3, p to last 3 sts, k3
Anne Leon (NSW) - Pattern and colour from dyeing
Row 3: K3, m1r, k to marker, m1l, sm, k1, m1r, k to last Liz Maidment (France) - The hand stitched landscape
3 sts, m1l, k3 Seraphina Martin (NSW) - Negative footprint printmaking
Rie Natalenko (NSW) - Marketing your workshop
Row 4: K3, p to last 3 sts, k3 Ken Smith (TAS) - Free hand machine embroidery
Row 5: K3, m1r, k to marker, m1l, sm, k1, m1r, k to last Yvonne Twining (SA) - The funky, bespoke leather shoe
Sandy Webster (USA) - Book making; the curiosity cabinet
3 sts, m1l, k3
Row 6: K3, p to last 3 sts, k3
Row 7: K3, m1r, k to marker, m1l, sm, k1, m1r, k to last
3 sts, m1l, k3
Row 8: K all sts
Row 9: K3, m1r, k to marker, m1l, sm, k1, m1r, k to last
3 sts, m1l, k3
Row 10: K3, [P2tog, yo] rep to 2sts before marker,
p2, sm, p1 [yo, p2tog] rep to last sts, k3
Repeat Rows 7-10 twice, then Rows 7-8 once. www.contextart.com.au

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Y35 Shawl pg36.indd 37 7/9/2014 10:52:58 PM

 Schematic
104cms /41ins
approx

42cm/16½ins approx

Edging
Row 1: K3, m1r, k to marker, m1l, sm, k1, m1r, k to last 3sts, m1l, k3
Row 2: K across row
Repeat Rows 1 and 2 twice [6 rows garter stitch total].

Picot cast off

Cast off 2sts, *Slip st on right hand needle back to left hand needle. Using
kntited cast on method, cast on 2sts. Cast off 4sts, repeat from * to end.

Finishing
Weave in ends. Suggested blocking method is to soak shawl, remove
38 YARN Issue No 35
excess water and then pin out to dry.
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 Woven Garter What is Woven Garter?
Woven Garter has been explained in issues 29-30

Stretched
of Yarn Magazine, but basically all you are doing
is working with two different coloured yarns
labelled as A and B. Yarn A is carried “on top” or

Diamonds
“over” Yarn B. Carrying Yarn A on top affects the
look of the fabric if you are knitting with smooth
yarns. With textured yarns the differences are less
By Lynne Johnson
noticeable. It is a stranded, or jacquard technique,
In a previous issue I described Woven Garter [WG] but with Woven Garter no purl rows are worked.
diamonds and was keen to share my enthusiasm for Issue 30 has lots of Tips for working and designing
the ways they can be used in planning variable and with Woven Garter.
versatile vests. If you’re not familiar with Woven Garter • When increases and decreases are needed with
stitch there are a variety of ideas and instructions in WG do them in the last stitch of the row. It
Issues 30-31 and 33-34 of Yarn Magazine. We’re also makes starting the next row easier.
including a summary of the stitch in this issue. • To increase: If the last stitch is Yarn B increase
The vests used diamonds as modules stitched together by knitting into the front of the stitch with
in various ways to get different effects. This time I’m Yarn A then into the back with Yarn B and vice
playing with the idea of stretching individual diamonds, versa.
seeing what happens and exploring what uses these • To Decrease: If the last stitch is Yarn B and the
Stretched Diamonds can be put to. It’s been mainly second last is A, knit the two together with
scarves and hats so far. When I say ‘stretching’ I’m Yarn B and again vice versa.
talking about knitting the bottom half of a diamond then
continuing on these stitches for a length, say enough for pattern, a standard in the local Spinning and Weaving
a scarf, then �inishing with the diamond’s top half. The community based on a similar idea. In deference to
‘stretch’ is the length between the diamond halves. these knitters, Tom and Liz and many others over the
Now I could just have done the stretch by knitting years, I share the following.
straight, but in my �irst knitting adventure at Textile The �irst two projects, the Ruby Red Scarf and Hat,
Fibre Forum Liz Gemmel was the tutor and one of my introduce the basic idea of stretched WG diamonds.
fellow classmates was Tom Moore from Armidale NSW. The Zig Zag Scarf and the Sapphire Blue Wrap and Hat
Liz was encouraging us to contribute our own ideas improvise on the theme. Once you’ve got the basic idea I
and in this spirit Tom talked about knitting on the bias. encourage you to do your own improvising, playing with
His mother had been a dressmaker/tailoress and when the ideas, developing them as you see �it and sharing
later he turned from weaving exquisite pieces to knitting them with the rest of us at some point. I did scaled
equally exquisite garments he drew on the ideas he’d down versions of some of my ‘what ifs’ to check if they
seen his mother use in her work. Tom explained that worked �irst. Saves time and frustration sometimes!
just as in dressmaking we might face a neckline or open Last year I was visiting Gill Venn at the Red Rock
sleeve with a bias cut piece of fabric, so too we could use Bookshop and Gallery in Horsham Victoria where
knitted bias pieces in our knitted garment constructions. she has a collection of her Fibreworks yarns. The
The idea stuck and it occurred to me that if I were hanks of 4ply merino and kid mohair boucle yarns
to do the stretches between the half diamonds on the particularly caught my eye and I came home with
bias the scarves might be that more inclined to wrap several combinations. Three colour ways in particular
more comfortably and the hats to �it more cosily. Biased kept �inding their way to the top of my basket and they
fabric can do that. Later I learned about the Spiral Cap became the hero yarns in these projects.

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 Ruby Red Scarf and Hat
I used 4.5mm (US 7) needles and Fibreworks
Sarsaparilla [Colour 13] kid mohair boucle for Yarn A
and a deep pink 4ply �ingering for Yarn B. About 100g
(3.5oz) of each was suf�icient for both the scarf and the
hat. I cast on two stitches for the scarf and increased at
the last stitch of each row in Woven Garter until there
were 30 stitches [B-C]. I then started the bias ‘stretch’
phase by continuing to increase once in the last stitch
of each row on the C-E side and decreasing once at the
end of each row on the B-D side. Figure 1 shows the
detail. I knitted on thus until the scarf was about 170cm
(67inch) at which point I did the top half of the now
very ‘stretched’ diamond by decreasing once in the last
stitches of each row, until two stitches remained and
were ready to be tied off.
Figure 1: Basic
Stretched
Diamond used for
the Ruby Red Scarf

The Ruby Red Hat

is made in the
same way but the
dimensions are
different and can
be very individually
determined in a
way that I enjoy.
The �irst half of the
diamond is done
as for the Scarf but
you keep going
until one side [A-B]
of the diamond, measures from the eyebrow to the top
of the head of the intended wearer, 23cm or (9inch) in
this case. If you wish it to have a fold back brim measure
from the tip of the nose to the top of the head. I had 60
stitches on my needle when A-B was 23cms.

Figure 2:
Ruby Red
Hat. A-B for
Eyebrow to
Crown measurement, A-E for Head Circumference.

Time now to start the stretch section, like you did for
the scarf (see Figure 2). Keep going until your increase
side [A-E] measures around the head of the recipient.
I often do this a bit tighter than looser as WG on the
bias sometimes has some natural stretch to be taken
into account. My A-E edge was 56cm (22inch). Finish
by doing the top half of the diamond as for the scarf and
tie off. Join A-B to E-F with a �lat seam and run a yarn
through B-F for the top. Fasten off and trim to taste.

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 The Zig Zag
Scarf

The Zig Zag Scarf

was made with
4.5mm (US 7)
needles and this
time the yarns
were Fibreworks
Lorikeet [Colour
14] for both the
Yarn A mohair
boucle and the 4ply
Yarn B. I started
Figure 3: Zig
with 100g (3.5oz) Zag Scarf
of each and there
was plenty enough left over for a hat. I started as for the
Ruby Red Scarf and knitted on in WG until the increase
side of the ‘stretch’ [A-C] was about 2.5cm (1inch) long,
�inishing on a decrease row [30 stitches]. It was time for
the �irst Zig which involved knitting the next row but not
increasing in the last stitch, then starting the increase-
decrease process again except now I was increasing on
the end that previously had been decreasing and vice
versa, as in Figure 3. I kept going and was soon doing
another Zig. I was getting into a rhythm and the Zigs
and Zags were draping in interesting ways. Give it a go
and �ind your own rhythm!

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 Sapphire Blue Wrap and Hat next and back to 10ish and so on. It gives a smoother
These two are also stretched diamonds on the bias ‘shaping’ if you know what I mean!
but they have an added extra, namely Short Row Row 2: WG back, increasing once in the last stitch.
Shaping [SRS]. Row 3: WG decreasing once in the last stitches.
Repeat these rows for as long as you want, before
�inishing the bias stretch and doing the top half of the
Figure 4: Sapphire diamond. Fasten off.
Blue Wrap with short
row shaping along The hat was done on 4.5mm (US 7) needles with the
the Decrease Edge same yarns as for the wrap. It was basically going to
B-D be the same as the Ruby Red Hat, but with short row
shaping at the top.

The wrap followed the

same plan as the Ruby
Red Scarf except it was
wider and was shaped
along one side. I had a
200g (7oz) hank of the Fibreworks Ocean Blue [Colour
11] kid mohair boucle for Yarn B and decided I could
make quite a long wrap that might lend itself to being
draped and worn in several different ways. I could have
Figure 5: Sapphire Blue Hat with short row shaping
used the Ocean Blue 4ply as Yarn A but decided to use
a novelty yarn that I had bought many years ago and
can’t remember from whom or what the yarn’s name
was. I could also have used a �ine silk yarn from the
Fibreworks collection. Look in your stash…some 2 ply
lurex or similar could �it the bill.

Tips for Woven Garter

If either Yarn A or B is much thinner than the other
cast on with both as though they were one.
The edges of Woven Garter fabric pieces can be
butted and sewn together with a �lat stitch such that
the seam and stitches are almost impossible to see.
Take up the slack by giving the yarn a light tug when
starting the second stitch of each row, as it gives a
�irmer edge.
Count the number of rows in Woven Garter by
counting the ridges and doubling it. Count the
stitches in a row by counting the number of Yarn A
dashes and doubling it.
Short row Turns are done as follows. Bring both
yarns to the front, slip the next stitch on the L needle
purlwise onto the R needle. Take both yarns back,
slip the stitch back to the L needle. Turn your work.
Take the yarns to the back of your work and knit on.

I used 4mm (US 6) needles and did a 50 stitch wide half

diamond then started on the shaping of the stretch as
follows:

Row 1: WG to 10 to 30 stitches from the end of the row,

turn (see tips box above) and WG back. No increases or
decreases in this row. I tend to do the turn 10ish stitches
from the end �irst, then 20ish the next time, 30ish

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 Row 1: WG to the last 6-9 sts, K2tog, turn.
Row 2: WG back, increasing once in the last stitch.
Row 3: WG to the last 10-15 sts, K2tog, turn.
Row 4: As Row 2.
Row 5: WG to end, decreasing once in the last stitches.
Row 6: As Row 2.
Knitting 2 together before the turns in these rows has
the same effect as decreasing at the end of the other
stretched diamond rows.
Repeat these 6 rows until the A-E side measures round
the head closely. Again mine was 56cm (22inch). Start
the decrease by continuing with the shaping on Rows
1, 3 and 5 as before, but decreasing once in the last
stitches of Rows 2, 4 and 6.
When you have 9 stitches on your needle, �inish off as
follows: WG to the last 3 sts. K2tog, turn, WG to last 2sts,
k2tog. Repeat twice. Cast off the last stitches.
Sew sides A-E and E-F together using a �lat seam. Fasten
off and trim to taste.
While making these items, I’ve had a couple of other
ideas that you might like to consider. First off, a wider
version of the Sapphire Blue Wrap, say 30cm (12inch)
wide and 2m (2.2yd) long that could be wrapped around
the body, shoulder to thigh, then stitched into a tube.
Another version of this wrap, say 35-40cm (14-16inch)
wide but only 75cm (29.5inch) long, could make a
fetchingly snug evening cape. Then come summer you
could consider a variety of children’s sun hats in cottons
made with the shaped hat idea and adding a short row
frill along the increase edge. These stretched diamonds
have no end of potential!

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 Back to Back
Challenge
By Team Yarn
For those of you “not in the know”, the Back to Back
Wool Challenge is run every year to both promote wool
and to raise substantial funds for cancer research.
Wendy Dennis, of Tarnwarncoort fame, is one of the The winning team sheep of origin
major driving forces behind this great cause and sends
out a Media Release each year to announce the results countries, with handspinners & knitters from the
of the challenge. Netherlands, Germany & the UK. Wendy Dennis was
So, what is the challenge? The challenge is to get a quoted as saying, “As guests of The Netherlands team,
country of origin sheep, and turn it into a jumper in as we were delighted to see how the Challenge works on
few hours as humanly possible! Each team consists of the other side of the world and how close they were
a blade shearer, the country of origin sheep and seven to breaking the World Record. The Guinness World
handspinners and knitters. The teams follow identical Record Time currently stands at 4 hours, 51 minutes,
rules and an identical pattern to knit an adult sized 14 seconds and was made by the Merriwa Jumbucks,
jumper. The competition is held in different venues from Merriwa, NSW in 2004.
around the world, with team Groenewoud being this This year eleven teams entered at their different
year’s winner, with a time of 5 hours, 32 minutes, 37 venues, around four world countries in the twentieth
seconds. When we asked team Groenewoud for a quote, Challenge, completed on Sunday 8th June, 2014. Each
the team leader, Miriam Tegels, came back with, “Team team not only promoted wool world wide but raised
Groenewoud is determined to take the next step coming substantial funds for Cancer Research. Countries
closer to the Guinness World Record on May 30, 2015!” competing with Australia this year included The
The breed of sheep Team Groenewoud used is a Swifter. Netherlands, Canada & USA. For more information
We can see the pun in that! or to enroll for next year’s challenge, email Wendy via
The winning team had representatives from several backtoback@iprimus.com.au

The winning team

44 YARN Issue No 35 www.artwearpublications.com.au

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 Orizomegami
Fold and dye designs for paper and fabric
Bursting with diagrams and stunning samples, more samples INSIDE
Let your imagination run wild. Orizomegami book available here. Thank You Kristin Lawson

A project using the Orizomegami Book fold and dye design can be seen in
the next issue of Embellish magazine (issue 20, out in December 2014).

PUBLICATIONS

Socks, socks and more SOCKS

www.artwearpublications.com.au
$ 10 Downloadable PDF online
www.artwearpublications.com.au
Includes: Bushwalker socks,
Lone heart heel socks,
A sock for Helen + more!
Issue No 35 YARN 45

Y35 Back to back pg44.indd 45 7/9/2014 11:11:36 PM

 Bear Template
continued from
page 17.

46 YARN Issue No 35 www.artwearpublications.com.au

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 A few projects later he resolved to learn to crochet.
Before long other crafts, including spinning, knotting,
and embroidery added to earlier learned skills.
Luke attended his first textile workshop, with
Australian Scrumbler Prudence Mapstone, at Grampians
Texture in Halls Gap. He has participated in many
workshops since to build on his skills. In 2013 he learnt

Profile: Luke Kumihimo, Japanese braiding, from artist Makiko Tada

at the Blue Mountains Contextart Forum run by TAFTA
(The Australian Forum for Textile Arts). More recently

Martinelli he learnt natural dyeing and Kantha style embroidery,

taught by Bhumika Modi and Carole Douglas.
By Jude Skeers Luke has been an active member of the Knitters Guild
of NSW for several years and last year helped to form
‘Every knitter knows at least one man who knits,’ a The Entrance branch of the Knitters Guild. In May this
truism that is surprisingly true. Men have been knitting year, Luke was invited to be a guest artist in The Society
since the skill was invented. They have included master of Arts and Crafts of NSW Textile Designers exhibition
knitters from the 16th Century, sailors spending long ‘50 Shades of White’. His knitting and crochet was
periods at sea, soldiers in time of war or just men who exhibited at Craft NSW, The Rocks, Sydney.
are enjoy making things with their hands. This is a Luke is looking forward to developing all of his
profile of one such knitter/crocheter. crafting skills and is now concentrating on mastering
Knitting, crochet, sewing, embroidery and braiding spinning and embroidery.
are the craft skills of textile artist Luke Martinelli. After There has been a resurgence and renewed interest
seeing some knitted ‘yarn bombs’ around the streets of in men who work with yarn and Yarn magazine would
inner Sydney, while out photographing graffiti, Luke was like to profile other men who knit. If you know of a man
intrigued, but at the time wasn’t interested in learning who knits we would like to hear from you. Please email
to knit. However, a few years later, while looking for a us at thegirls@artwearpublications.com.au
new interest Luke picked up a ‘Learn to Knit Kit’ from
the markets. Soon he had completed his first scarf and Men do knit: but where are they?
developed a desire to try something more difficult. If you are a man who knits, Kaye Healey has a project
for you. Men who knit, and men
and boys who would like to learn to
knit, are invited to join ‘War & Peace
- The Men’s Knitting Project’ to
commemorate the Anzac Centenary
in April 2015. Each contributor will
knit a small sampler which will be
joined with others to form a large
knitted wall hanging on the theme
of war and peace, part of Goulburn
Regional Art Gallery’s exhibition to
mark the event.
Participants are asked to make
a small direct donation to ‘Soldier
On’ – an organization established
to help returned men and women
veterans of the Afghanistan and
Iraq conflicts who are physically or
psychologically wounded.
Knitting was a popular pastime
among men during the First World
War and a form of occupational
therapy after the Second World War.
Exeter resident and project co-
ordinator, Kaye Healey, has spent
the last few months preparing for

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 the year long event and hopes many men will join up. the originators of knitting and had to serve a 6-year
While the project is based in Australia overseas male apprenticeship to join a guild and become a Master
knitters are also invited to join and some well-known Knitter in medieval times’.
male knitters accepted the invitation immediately on ‘It’s a creative, therapeutic project that can benefit
hearing of the project. Kaye hopes returned servicemen our wounded returned veterans, individual knitters,
will also join the project. ‘I’d really like them to be and our community. I’m hoping many men will join in,
involved’, she said. sign up and really get behind ‘War & Peace ~ The Men’s
Large creative projects are not unknown to Kaye who Knitting Project’. www.mensknittingproject.com.au
was the originator and co-ordinator of Exeter CWA’s
Crazy Cozy competition in 2009 which brought entries
from as far afield as France, Scotland, England and
the US and raised over $17,000 towards the cost of a
breast care nurse for cancer patients. She also ran ‘The
Women’s Communal Living Project’ at her farm that
finished late last year.
‘I like to devise creative projects that benefit the
individual and the wider community’, said Kaye, who
is also a trained counsellor and therapist. ‘And knitting
Images and project pages 48-49 by Luke Martinelli.
certainly does that. It relieves stress and anxiety,
depression and loneliness, and studies show it can
often help with chronic pain’.
Kaye, a knitter and weaver, is looking forward to a
good response from men and boys who knit, or who
want to learn. Knitting tuition and detailed instructions
for the knitted sampler will be provided online to those
who register.
‘I’d like to see school boys, their teachers, fathers
and grand fathers get involved. Knitting is meditative;
it stills the mind and encourages greater concentration
and relaxation, and it’s portable – two sticks and a ball
of wool’, Kaye said.
Those interested can see an online trailer of the DVD
– ‘Real Men Knit’. ‘Don’t think knitting is for cissies’, Kaye
said. ‘Men’s knitting groups and retreats have been
forming throughout the UK, the US and Europe in recent
years’. Kaye, who has researched men and knitting over
the centuries, said: ‘This is a men’s project. Men were

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 www.artwearpublications.com.au Issue No 35 YARN 49

Y35 Tech Talk pg47.indd 49 7/9/2014 11:13:54 PM

 yum
yarn related yumminess . . .
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their Merino/silk sliver packs are quality
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yum yum
The peacock colourway is pretty hard to pass up in this
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yum
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187m to 50g. Our swatch was worked
with 3.25mm (US 3) needles. For more
information on this stunning sock
weight (4ply) yarn, contact Jenni on
(03) 5251 2497.

50 YARN Issue No 35 www.artwearpublications.com.au

Y35 Yarn Review pg50.indd 50 7/9/2014 11:15:00 PM

 yarnmarket

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www.artwearpublications.com.au Issue No 35 YARN 51

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 stitch guide

Knit stitches abbreviations Mattress Stitch Worked with pieces spread

out, cast off edges together and right sides up.
*, ** repeat directions following * or ** as many Put needle through side of st closest to the top
times as indicated
edge of lower piece and out through the centre
alt alternate
CC contrast colour of the st from back to front. Bring the needle
cm centimetre(s) completely under the corresponding st on
dec(s) decrease(s)/decreasing upper piece and out the other side from back
dpn(s) double-pointed needle(s) to front. Insert needle down through where
foll following yarn leaves the st on the lower piece and up
inc(s) increase(s)/increasing through the centre of the next st.
g st garter stitch: k all rows (back and forth); in
rounds, work 1 round knit, next round purl
K, k knit Provisional cast on (crochet) Using waste yarn, make
k2tog knit 2 sts together (decs 1 st; a right-leaning dec) a slip knot and put onto a crochet hook. With the hook in
kfb knit into the front and back of the same st your right hand and the knitting needle in your left, tension
(increases 1 st) the yarn in your left hand and keep working yarn behind the
m metre(s)
needle. *With hook, pick up yarn and pull through loop on
m1 make 1 (raised increase)
hook. (You have cast on 1 stitch.) Keeping hook in front of
m1L make 1 leaning left
m1R make 1 leaning right the needle move the yarn around behind needle and repeat
MC main colour from * until you have cast on the number of sts required.
mm millimetre(s) Make a few extra ch and fasten off. Work main yarn into
P, p purl sts on needle. To expose the live stitches, undo the last st of the provisional chain,
PM, pm place marker ‘unzip’ the chain and put live sts on a needle.
psso pass slipped stitch over
p2tog purl two sts together.
RS right side M1 Insert the left needle from the front to back of the horizontal loop between the
skp slip 1, knit 1, pass slipped stitch over two stitches. Knit the stitch through the back loop as shown.
Sl, sl, s slip This sort of increase will make a left-leaning increase (M1L). To make a right leaning
Sm, sm slip marker increase (M1R), insert the left needle from the front to the back of the horizontal loop
ssk slip, slip, knit the 2sts tog (left leaning dec) between the two stitches. Knit the stitch through the front of the loop.
st(s) stitch(es)
st st stocking stitch: k one row, p one row (flat); k
all rows (circular knitting)
tbl work st(s) through back of loop(s)
tog together
WS wrong side
yb yarn back
yf yarn forward. Makes a st on a K row by moving
yarn to front of work under right hand needle.
yo yarn over. See also ‘yrn’ Wrap and turn (short-row wraps) On a knit row: yf, sl 1, yb, return sl st to left-
yrn yarn round needle. Before a purl st, yarn must hand needle, turn and work back across without working wrapped st. On a purl row,
go fully around the needle.
yb, sl 1, yf, return sl st to left-hand needle, turn work and work back across without
working wrapped st.
Working wrap with st When working a knit row, insert needle from below into
the wrap and k wrap together with the st as directed.

Backward loop cast on Attach yarn to needle using

slip knot. Wrap yarn around thumb clockwise. Insert 1 2 3
needle behind front yarn into loop and pull. (Basically,
you’re knitting the loop off your thumb.)

Slip, slip, knit (ssk) (left-leaning decrease) Slip

two sts knitwise, one at a time, from the left needle
to the right needle. Slide the tip of left needle through 4 5 6
the front of the two sts and knit them together. Grafting (Kitchener stitch) Leave a tail about 3 times the width of the knitting to
Decreases 1 st. be grafted. Thread yarn onto a blunt needle. Holding needles parallel with WS of work
together, work two set-up stitches: (1) put the sewing needle in the first stitch of the
Blanket stitch Back stitch front knitting needle purlwise and pull yarn all the way through, keeping the stitch on
the knitting needle. Next put the sewing needle knitwise into the first stitch of the back
knitting needle and pull all the way through. Keep the stitch on the needle. (2) Put sewing
needle knitwise into first stitch of the front knitting needle and pull the yarn all the way
through. Drop the stitch off the knitting needle. (3) Put sewing needle purlwise into the
next stitch on the front knitting needle and pull through, keeping the stitch on the knitting
needle. (4) Put sewing needle purlwise into first stitch on back knitting needle and pull
yarn through. Drop the stitch off the knitting needle. (5) Put sewing needle knitwise into
the next stitch on the back knitting needle and pull through. Do not drop the stitch off
the knitting needle. (6) Repeat Steps 2–5 until all sts have been worked.

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 stitch guide
Ultimate Yarn Conversion Guide

* The 1 & 2 ply yarns are normally used for open worked, lace patterns so the stitch
count and needle size can vary tremendously depending on the project.
** Steel crochet hook sizes may differ from regular hooks.
This table complied by Michelle Moriarty, referencing various Encyclopedias, USA
CYCA Standards, Knitpicks, Nancy’s Knit Knacks, Ravelry and in consultation with
Amelia Garripoli. © This table is copyright to Yarn Magazine.

To make a dtr (double-treble) you need a turning chain of

four stitches. Wrap yarn around hook twice. (1) Insert hook
1 into the stitch you’re crocheting into, swirl hook and (2) pull
yarn through stitch (4 loops on hook). Swirl hook and pull yarn
through two loops (3 loops on hook). Swirl hook and pull yarn
through two loops (2 loops on hook). Swirl hook and pull yarn
through remaining two loops.

2
To start a sl st (slip stitch) or
dc (double crochet): (1) insert
the hook into the next stitch, pick To make a ttr (triple-treble, or treble-treble crochet) you
up the yarn with the hook and pull need a turning chain of five stitches. Wrap yarn around hook three
it through the st to the front. To times. (1) Insert your hook into the stitch you’re crocheting into
complete a sl st pull the loop all swirl hook and (2) pull yarn through stitch (5 loops on hook). Swirl
the way through the second loop. hook and pull yarn through two loops (4 loops on hook). Swirl
To complete a dc (2) pick up the hook and pull yarn through two loops (3 loops on hook). Swirl
yarn with the hook again and pull it hook and pull yarn through two loops (2 loops left on hook). Swirl
through the two loops. hook and pull yarn through remaining two loops.
To make a htr
(half-treble
crochet) or a tr
Crochet stitches - We say torch, you say flashlight.
(treble crochet) Australian/UK North American
(1) pick up the yarn chain (ch) chain (ch)
with the hook. (2) double crochet (dc) single crochet (sc)
1 2 Insert the hook into treble crochet (tr) double crochet (dc)
the next st, catch half treble crochet (htr) half double crochet (hdc)
the yarn with the hook and pull it through to the front (3 loops on hook). To complete a htr, catch the yarn
double treble (dtr) treble crochet (tr)
again and pull it through all 3 loops. To complete a tr, catch the yarn again and pull it through the first 2 loops
slip stitch (sl st) slip stitch (ss)
on the hook; pick up the yarn with the hook again and pull it through the rem 2 loops on the hook. In (2) you
can also see the effect of working sl sts across a row to decrease. Here, 4 sts have been decreased. triple treble (ttr) double treble (dtr)
miss skip (sk)

www.artwearpublications.com.au Issue No 35 YARN 53

Y35 stitch guide pg52.indd 53 7/9/2014 11:17:53 PM

 yarn logo listings

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54 YARN Issue No 35 www.artwearpublications.com.au

Y35 logo listing pg54.indd 54 7/9/2014 11:20:28 PM

 classifieds

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www.artwearpublications.com.au Issue No 35 YARN 55

Y35 class n calend pg55.indd 55 7/10/2014 8:16:29 PM

 i n a s s o C i at i o n w i t h :

...

J o i n u s t o C e l e b r at e v i n ta G e F a s h i o n at t h e 2 0 14 n at i o n a l
v i n ta G e F a s h i o n awa r d s a s a pa r t o F t h e G e e l o n G r e v i va l .
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F o r m o r e i n F o r m a t i o n o r t o r e g i s t e r y o u r i n t e r e s t, v i s i t
56 YARN Issue No 28 www.artwearpublications.com.au
w w w. g e e l o n g r e v i va l . c o m . a u o r e m a i l Fa s h i o n @ g e e l o n g r e v i v a l . c o m . a u

Y35 subs pg56.indd 56 7/9/2014 11:31:23 PM

Yarn35 ibc.indd
combined subs 1IBC 7/14/2014 7:27:27 PM
 The Australian magazine for knitting and more Volume 14
Issue 35
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9.95 AUD

YARN MAGAZINE issue 35.

15.00 NZ
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Knit • Felt • Crochet • Spin

What’s INSIDE!

WWW.ARTWEARPUBLICATIONS.COM.AU
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more . . .

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9 771832 978003
Lace • Slipped Stitches • Twisted Cable • Woven Garter & much more!
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