tutorial:

wheelhouse buttons
These simple-to-make covered buttons echo the concentric
structure of the Pictish wheelhouses at Scatness.

1 2 3

step 1: Select 5 (or 6) plain buttons step 2: Cut off a 90cm/3ft length of step 3: Draw the yarn across the front
with a 2.5cm/1in diameter. yarn, thread your needle and draw up of the disc up to notch 1.
On cardboard, draw a circle 5cm/2in in through the centre of the disc, leaving
diameter (I drew around the lid of a jar). a short tail no longer than 1cm/0.3in.
Cut out the disc; mark the centre point
and with a sharp needle poke a hole
through this point. wrap notches in this sequence:

5
Mark numbers 1-12 around the edges 6  7
of your disc, as if drawing a clock face. 7  1
With a pair of sharp scissors, cut 1  2
shallow notches at each of the points 2  8
1-12 (notches should be no deeper 8  9
than 5mm/0.2in). 9  3
3  4
4  10
10  11

4
step 5: Continue securing the yarn into
the notches by drawing it alternately
11  5
around the back circumference and
5  6
across the front diameter, in the order
6  12
shown in the list on the right.
12  11
11  5
5  4
4  10
10  9
9  3
step 4: Draw the yarn around the back 3  2
circumference of the disc to notch 12, 2  8
secure it in the notch, then draw the 8  7
yarn across the front diameter of the You have now created 12 front spokes,
circle to notch 6. and 12 back loops.

82
 wheelhouse buttons

6 7 8

step 6: Draw the yarn from notch 7 step 7: Continue weaving in this step 8: When you reach the edge of
to the centre, securing it around the manner, working anti-clockwise, and the disc, turn it to the back, pass the
centre of the spokes. drawing the yarn backward over 1 and needle under the loop between each
forward under 2 spokes around the notch and lift it off the disc. Continue
Bring your needle up between spokes disc. This process wraps and defines around the disc, lifting each loop off
12 and 1 as close to the centre as the spokes, creating the ridged surface in turn, taking care not to let your yarn
possible. of the button covering. (If you run out draw up too tightly.
of yarn, simply secure the old thread
Then take your needle backwards under the spokes, cut a new length,
over spoke 1, turn forwards and travel draw it up through the hole at the
under spokes 1 and 12. centre of the circle, and begin weaving
where you left off.)
Now take your needle backwards over
spoke 12, turn forwards and travel
under spokes 12 and 11.

9 10 11

step 9: Remove the button covering step 10: Place the button face down step 11: Retain a length of yarn for
from the cardboard disc. on the back of the button covering. securing your button to the front of
your tunic.
Carefully pull the yarn, drawing in the
button-covering to conceal the back of Button covers can be made in any
the button. Make a few stitches across size – just make sure to cut your
the back, securing, tightening and cardboard disc about 2.5cm/1in larger
neatening the button covering so that than your buttons.
the button is completely concealed.

83
special
techniques
the recommended yarn Steeks 1 Weave in all loose ends to the back of
The designs in this book were all created cut your steeks the work, away from stitch 4.
using one of my all-time favourite yarns ‘Steek’ is simply a Shetland word for 2 With strong sock yarn of similar
– Jamieson & Smith’s 2 ply Jumper ‘stitch’. In modern, commercial knitting shade to your garment, and a 2.5mm
Weight (which knits as a standard 4 ply). patterns (namely, those that have been crochet hook, make a slip-knot and
This yarn is produced from top-quality produced over the past thirty years place it over your hook.
Shetland wool, hand-sorted and graded or so) the word has shifted meaning, 3 Push hook through bound-off edge of
from the best local fleeces, with an coming to to refer to the small bridge of work through centre of stitch 3, draw
impressive level of care shown at every ‘waste’ stitches that are often included a loop through fabric and slipknot to
processing stage. It is an ideal yarn in a design to allow the garment to be secure yarn (1 loop on hook).
for showcasing the simple stripes and cut open after knitting (comparable to a 4 Push hook through front leg of stitch
colourwork patterns that feature in this seam allowance in sewing). 3 and back leg of stitch 4 (3 loops
book. The palette is rich and varied; In the Ursula Cardigan and Scatness on hook).
the woollen-spun fibres hold together Tunic designs, the steek bridge enables 5 Yarn over hook and pull through the
nicely; it blooms beautifully during you to knit the majority of the garment knitted stitches (2 loops on hook)
blocking (lending your work the ‘halo’ swiftly and seamlessly in the round. 6 Yarn over hook and pull through both
characteristic of real Shetland wool); After knitting is complete, the bridges loops on hook (1 loop on hook, and
and the resulting fabric is durable and are reinforced, and simply cut down 1 reinforcement double crochet stitch
wears well. the centre, to create front and / or made).
If you use Jamieson & Smith’s Jumper sleeve openings. Jamieson & Smith 7 Continue in this way, repeating steps 4
Weight for the projects in this book, Jumper Weight is a ‘sticky’ yarn that to 6 for each row of the steek, pushing
you will create beautiful, professional- most Shetland knitters would cut hook through front leg of stitch 3 and
looking hand-knits that will last you without fear of stitches unravelling. For back leg of stitch 4 each time.
for many years. peace of mind, however, I recommend 8 When you have worked your column
reinforcing before cutting using the of double crochet down each row,
Watch your swatch! crocheted method (see below). secure it to the cast-on edge of the
Achieving the correct tension is steek through the centre of stitch 3,
essential. For your garment to have the reinforcing steeks and fasten off.
best fit, you need to ensure that you with crochet 9 Turn work 180 degrees.
are knitting at the correct number of All steeks in this book are worked over 10 Rejoin yarn to hook with slipknot;
stitches to the cm or inch. 7 stitches. In the following instructions, push hook through cast-on edge of
Producing a swatch may be time- these stitches are numbered 1 to 7 from work through centre of stitch 5, draw
consuming, but it is a crucial stage of right to left. a loop through fabric and slipknot to
knitting many of the designs in this You will be working two columns secure yarn.
book. All of the garment patterns of double crochet (US single crochet), 11 Push hook through front leg of stitch
include detailed instructions on how the first between stitches 3 and 4, and 4 and back leg of stitch 5 (3 loops
to produce your swatches. These the second between stitches 4 and 5. on hook).
swatches will also allow you to These two chains pull away from the 12 Yarn over hook and pull through the
familiarise yourself with the techniques centre (stitch 4), allowing you to cut knitted stitches (2 loops on hook).
involved in each pattern. easily and neatly. Then yarn over hook and pull both

84
 Special techniques

loops through (1 loop on hook blocking and finishing On purl side:

and 1 reinforcement double For your hand-knits to look their best, 1 Work up to the turning point or
crochet st made). they should be carefully wet-blocked, gap.
13 Continue working your second shaped and dried before wearing. 2 Slip the next stitch purlwise onto
reinforcement in the same manner Some of the designs included in this your right needle.
as the first, all the way up to the book involve finishing methods, such as 3 Insert your left needle into the loop
bound-off edge. sewing in a trim or zip, adding interior of yarn that has the contrasting
14 Press the two lines of double crochet facings, or completing edges and cuffs thread running through it, lifting it
gently away from each other, with i-cord, all of which will lend your up from the bottom.
revealing a ladder of knitted strands hand-knits a really professional look and 4 Return slipped stitch to left needle.
running up the centre of stitch 4. are well-worth taking time over. Each 5 Purl slipped stitch together with
15 With a small, sharp pair of scissors, pattern includes detailed instructions for loop (p2tog).
cut each strand of this ladder, taking relevant blocking and finishing methods. 6 Turn, following instructions above.
care not to snip the crocheted
reinforcement, or the other layer of short rows wrap and turn short rows
knitted fabric. Two methods are described here. I To turn on knit side
Follow instructions in the pattern to recommend using the Carol Sunday 1 Knit to turning point.
stitch down and finish your steek edges Short Row technique (similar to 2 Slip next stitch purlwise to right
after cutting. Japanese short rows) when working needle.
For further information and the Ursula Cardigan sleeve caps. For 3 Bring the yarn to the front between
illustrations, see the second of my steek raising the back of the neck on other the needles.
tutorials online – follow the links from patterns, I recommend the wrap and 4 Return the slipped stitch to the left
this page: www.katedaviesdesigns. turn technique. needle.
com/tutorials 5 Bring the yarn to the back between
carol sunday’s short rows the needles.
colourwork tips To turn on both knit and purl sides 6 Turn work to purl side and continue.
fair isle technique for 1 Work to the turning point.
colourwork 2 Turn the work. To turn on purl side
Strand the yarn not in use loosely 3 Return working yarn to the front 1 Purl to turning point.
along the back of the work. If working (knit side) or back (purl side) as if to 2 Slip next stitch purlwise to right
two-handed, the ‘foreground’ yarn work next stitch. needle.
will usually be in your left hand, or be 4 Place one piece of contrasting yarn 3 Bring the yarn to the back of the
taken from below, if you are working across the working yarn, marking work.
one-handed. If your tension is even, the turning point. 4 Return the slipped stitch to the left
there should be no need to ‘catch’ or 5 Work the next stitch. needle.
‘weave’ your stitches as is sometimes Continue to work along the row as 5 Bring the yarn to the front between
recommended. usual. The contrasting yarn will remain the needles
as a placeholder. 6 Turn work to knit side and continue.
colourwork tension
To maintain an even tension when To take in the next stitch and add To close gap
working colourwork over small another short row 1 Knit to the turning point. You will
circumferences (such as mittens), try On knit side: see a horizontal bar of yarn lying in
turning the work inside out. The knit 1 Work up to the turning point (you front of the stitch that you slipped
side will still be facing you (allowing will see a gap, and the contrasting before you turned the work. This is
you to work from the right side as thread of yarn running through the the wrap.
usual), but the floats will be stretched fabric underneath) 2 Insert tip of right needle into both
around the work, easing up the tension. 2 Insert left needle into the loop of the wrap and the wrapped stitch
yarn that has the contrasting thread and knit them together (this pushes
corrugated rib running through it the wrap to the back of the work
Also known as two-colour rib. Work as for 3 Knit this loop together with the next and closes the gap).
Fair Isle colourwork, purling stitches where stitch (k2tog).
indicated and stranding the yarn not in 4 Turn, following instructions above.
use loosely along the back of the work.

85
 by Lucy Neatby: the binding for 2mm, then, when it
http://www.youtube.com/ emerges, catch a a thread or two of the
watch?v=R3J-sUx_whE knitted fabric just underneath the trim.*
and Åsa’s Winding Cast On (also known Repeat from * to *.
as a Turkish cast on):
http://asatricosa.wordpress.com/ back stitch
how-to/winding-provisional-cast-on/ Back stitch is a strong sewing stitch,
You can find other good provisional used in the Scatness Tunic and Ursula
cast-on methods described in Elizabeth Cardigan patterns to secure the cut
Zimmermann’s Knitting Without Tears edges of the steeks to the inside of front
(1995 edn) (invisible cast-on, page 20) edges and armholes. Pin your steek
and June Hemmons Hiatt’s Principles edge into place, and secure your thread.
of Knitting (2012 edn) (alternating Pull the needle through the steek edge,
provisional cast-on, pages 59-61). Feel catch the knitted fabric, then double the
free to use whichever provisional cast- needle back on itself. The needle should
cast-on and bind-off on method you prefer. then emerge slightly beyond the stitch
methods just made, before doubling back on
i-cord bind-off (also sewn bind-off itself again. When catching the knitted
known as applied i-cord) A stretchy bind-off method should be fabric, do so lightly, ensuring that your
Cast on 3 stitches using the cable cast- used where a flexible edge is desirable, stitches do not show through to the
on method. *K2, k2tog tbl (the second for example around ribbed cuffs, front of the work.
of these stitches will be a garment necklines, or shawl edges. Instructions
stitch). Slip 3 stitches from right needle are given here for the sewn bind-off, but picking up stitches
to left needle. Pull the working yarn feel free to use the decrease bind-off, or pu: pick up without knitting
across the back.* Repeat from * to *. At any other method you prefer. Lift up live loop without knitting and
final 3 sts (when all garment stitches 1 Break yarn, leaving a tail at least 3 place it on needle.
have been cast off), finish as follows: K1, times as long as the bound-off edge.
k2tog tbl, slip 2 sts to left needle, k2tog, Thread the tail of the yarn onto a puk: pick up and knit
pull yarn through. tapestry needle. With working yarn, pick up the required
2 *Pass the tapestry needle purlwise number of new stitches through the
backwards-loop cast-on through first two sts on left-hand knitted fabric (that is, push needle
Also known as the single cast on, loop needle. Pass needle knitwise through to the back of the work, pick up
cast on or E cast on. This simple cast- through first st on left-hand needle, a loop from the wrong side of the fabric,
on method enables you to add-in sts pull to an even tension and slip and draw through to the right side to
without breaking the working yarn. this stitch off the knitting needle.* create a new stitch).
*Loop working yarn over left thumb Repeat from * to * until all sts have
(making a shape like a lower case e), and been bound off. picking up stitches beside a
place it on right needle backwards so steek bridge
that it does not unravel. Tighten.* Repeat stitching When picking up stitches for a button
from * to * for required number of sts. invisible slip stitch or band or sleeves, where a steek bridge
blind stitch has been worked, you should ensure
provisional cast-on Slip stitches are used in the Scatness that none of the bridge shows through
In these patterns, I describe a very Tunic and Ursula Cardigan patterns to on the right side. To do this, simply pick
simple method for casting on secure the button-band trim. You will up your stitches in the space between
provisionally using a crochet chain. need to use a very sharp sewing needle the final main pattern stitch and the
Casting on provisionally in this manner and fine, strong sewing thread. The first stitch of the bridge. Your picked up
(preferably with a strong, smooth bound edges of ribbon or lining trim stitches will lie flush against the main
sock yarn) allows you unzip and pick are usually reinforced with a tiny hem pattern, and those of your bridge will
up the ‘live’ stitches at a garment’s or binding – you will use this binding be hidden away at the back of the work
edge in order to finish it neatly after to contain and disguise each stitch. (to see this in action, take a look at the
knitting is complete. There are many After pinning out your trim as described third of my steek tutorials, following the
alternative provisional cast-on methods. in the pattern, secure your thread at links from this page:
I particularly like this method described one end. *Pass the needle through www.katedaviesdesigns.com/tutorials

86
 abbreviations

grafting
kitchener stitch abbreviations
These instructions are for grafting in
stocking stitch. CC1(2,3) contrast colour 1 (2, 3)
First, thread a tapestry needle with cm centimetres
60cm/24in length of working yarn.
cont continued
1 Hold knitting needle tips parallel to
one another, with right sides of work dpn(s) double-pointed needle(s)
outermost. foll follows/following
2 Insert tapestry needle purlwise into first g grams
stitch on front needle. Pull yarn through.
in inches
3 Insert tapestry needle knitwise into
the first stitch on back needle. Pull yarn K knit
through. k2tog knit next 2 stitches together (1 stitch
4 Insert tapestry needle knitwise into first decreased)
stitch on front needle, slipping stitch off k3tog knit next 3 stitches together (2 stitches
needle. decreased)
5 Insert tapestry needle purlwise into next
kfb knit into the front and back of the same
stitch on front needle. Pull yarn through.
stitch (1 stitch increased)
6 Insert tapestry needle purlwise into first
stitch on back needle, slipping stitch off lh left-hand
needle. m metres
7 Insert tapestry needle knitwise into next m1 lift bar between sts from front to back
stitch on back needle. Pull yarn through. and knit through the back of this loop
8 Repeat steps 4-7 until all stitches have (1 stitch increased)
been grafted together. MC main colour

for general reference mm millimetres

June Hemmons Hiatt P purl
The Principles of Knitting (2012 edn) p2sso pass two slipped stitches over
Margaret Radcliffe pm(A, B, etc) place marker(A, B, etc)
The Knitting Answer Book (2006)
Montse Stanley pu pick up (see Special Techniques)
The Handknitter’s Handbook (2001 edn) puk pick up and knit (see Special
Elizabeth Zimmermann Techniques)
Knitting Without Tears (1995 edn) rh right-hand
RS right side
Glossary
sl slip a stitch purlwise unless otherwise
Bind off UK cast off noted
Stocking stitch US stockinette stitch slm(A, B, etc) slip marker(A, B, etc)

Tension US gauge ssk slip 2 stitches knitwise one at a time,

knit 2 slipped stitches together through
Facing A layer of fabric used to reinforce back of loop (1 stitch decreased)
and strengthen the interior of a hem sssk slip 3 stitches knitwise one at a time,
or edging knit 3 stitches together through back of
Sock yarn A smooth yarn of 4 ply weight (US loop (2 stitches decreased)
fingering weight), usually made st(s) stitch(es)
from a blend of wool and nylon tbl through the back loops
Tapestry needle A sewing needle suitable for wool, WS wrong side
with a blunt tip
yds yards
yo yarn over

87
acknowledgments
tom barr and a big shout-out to...
Tom is my amazing, multi-talented partner, My friends at Jamieson & Smith and Curtis Wool, for
who shares everything with me, including a dry supporting this project with 100% Real Shetland wool:
northern sensibility, a deep love of Britain’s wild Martin Curtis, Ella Gordon, Oliver Henry, Sandra Manson,
places and a fondness for pootling around in a and June Moulder. www.shetlandwoolbrokers.co.uk
camper van. He is also a superb photographer and My friends at Promote Shetland, who have encouraged me
is particularly good at taking pictures of knitwear. and permitted me to reproduce many beautiful photographs
Tom is responsible for the garment photography from their archives: Misa Hay and Deborah Legatte.
in this book. www.shetland.org
Chris Dyer and Jane Outram, whose knowledge and
bruce enthusiasm inspired the Scatness designs, and Anna
One of the great pleasures of working NicGuaire for her help with Gaelic puffin names.
independently is spending my days with Bruce, John Moncrieff, for inspirational wildlife photography
my fun-loving and indispensable labrador www.johnmoncrieffphotography.zenfolio.com
companion. Bruce also enjoys Shetland and has And finally, everyone at Shetland Museum and Archives
shared many fine walks there with Tom and I. and Shetland Amenity Trust, whose work to preserve
and interpret the history and heritage of Shetland is both
melanie ireland heartening and exemplary.
This book would really not have been possible www.shetlandamenity.org
without Mel. An incredible knitter and a wonderful www.shetland-museum.org.uk
friend, she test-knits most of my designs and is
also responsible for bringing me back down to
earth when my ideas turn batty and unrealistic.
the team
Publisher & Author: Kate Davies
jen arnall-culliford Technical Editor: Jen Arnall-Culliford
I have learnt masses about being a design Art & Production Editor: Nic Blackmore
professional from Jen. She is this book’s technical Photography: Tom Barr
editor and general sage. I can think of no one with
Test Knitting: Melanie Ireland
whom I’d rather share my virtual office: she is the
sharpest and funniest knitting geek I know. Yarn Support: Jamieson & Smith
www.jenacknitwear.co.uk colours of shetland
First published in 2012 by Kate Davies Designs Ltd, Box 161,
nic blackmore MBE, 12 South Bridge, Edinburgh EH1 1DD
Nic is responsible for this book looking completely © Copyright Kate Davies Designs Ltd 2012
beautiful, and for giving me a little thrill every
time I turn its pages. Nic has not only shared my ALL RIGHTS RESERVED
creative vision for this book, but with her own The entire contents of this book and the patterns therein
vital spark, has made it come to life. I suspect she are subject to copyright. The purchase of this book allows
doesn’t know just how talented she is. you to use it for personal, non-commercial purposes. Items
www.laliloo.squarespace.com produced using the directions in this book are not licensed to
be sold for profit.
sarah laurenson No part of this book may be reproduced, stored in a retrieval
I met Sarah on my first visit to Shetland, when she system or transmitted in any form or by any means without
was at Jamieson & Smith. There is no-one working prior written permission from the publisher.
in this industry quite like Sarah: she has a knack
Printed by Williams Press, Berkshire, UK
of just making amazing things happen without
making any sort of fuss about it. She also designs British Library Cataloguing in Publication Data:
and makes breathtakingly beautiful things, as you A catalogue record for this book is available from the British
can see at www.reformlane.co.uk Library. ISBN-978-0-9574666-0-9

88
 about Kate
I grew up in Rochdale, in the North West of England, and was a Like those eighteenth-century women whose letters I was
historian and writer before I was a designer. I have a doctorate reading, creating textiles enriched my life tremendously,
in Eighteenth Century studies and have written books and opening paths of inspiration, and connections with people,
articles on a wide variety of subjects from the American that I would never have otherwise discovered.
Revolution to the history of lace. Today I live in the best of both worlds, combining research
Strangely enough, it was my research that brought me to and writing with hand-knitting and design. The ‘model’ in
knitting and design while working with a group of women’s these photographs is me – 5ft 2in and almost 40.
letters in a library in Philadelphia in 2005. Needlework is
sometimes regarded as an agent of women’s oppression, but I where to find me
was very struck by how textiles enriched these women’s lives, If you’d like to see what I’m up to, you can read my blog at
bringing them together as a group of friends. I remembered www.katedaviesdesigns.com or find me on twitter @wazzag .
that I could knit, popped out to Rosie’s Yarn Cellar, purchased If you have a question about my patterns, you may wish to
materials, and discovered that I couldn’t stop. From the check my Ravelry group www.ravelry.com/groups/kate-
moment I took up my needles again, I found it immensely davies-love, where you will find informed discussions and
enabling to design garments and accessories that didn’t exist helpful knitting comrades, happy to share their expertise.
in the world of mainstream fashion, and I particularly liked If you find an error in this book, or have a pattern query to
making things that connected me to the places and landscapes which you cannot find an answer, please contact me at
that I loved. customerservice@katedaviesdesigns.com
 With beautiful photography, engaging
writing and signature hand-knit designs,
Colours of Shetland will inspire you
with the varied shades and hues of
Great Britain’s most northerly isles.

From Edinburgh writer and designer, Kate

Davies, comes a book that brings the creative
process of hand-knit design to life in an
exciting new way. In Colours of Shetland, Kate
takes you on a northern journey, exploring
wild and beautiful island landscapes through
words, projects and pictures. Situated in the
rich context of the Shetland places, wildlife,
objects and people that have inspired
Kate, each design in this book has its own
engaging ‘colour story’ to tell.

Through these pages you will get a taste

of the heritage that makes Shetland one
of the world’s most knitterly destinations
and be inspired to knit with yarn that has
a genuine connection to the landscape in
which it is produced. Showcasing Jamieson &
Smith Jumper Weight, the flagship Shetland
yarn with a marvellously varied palette,
each project features the clear instructions,
beautiful finish and attention to detail that
are hallmarks of Kate’s designs.

Alongside ten original patterns that are a

joy to make and wear, Colours of Shetland
offers the hand-knitter food for thought and
a feast for the eyes.

in association with:

rrp uk £14.99