I spent time putting together the Understanding Gauge correspondence course.  It will be more comprehensive than the course I could offer at conferences since the students have more time.  The first lesson will be about how to knit gauge swatches and calculate gauge (also covered in the Basics course) but it will it include how to use gauge information when working with patterns.   The gauge information in the Basics Class is designed to help prepare students for the Masters program.  The gauge course is more about using gauge in actual projects.  Lesson 2 covers how to use gauge information to alter patterns (use a different weight of yarn, change necklines, etc.)  Lesson 3 will cover how to use gauge to design garments.  I am having a lot of fun putting this together.  The course will be available on October 15th.

STUDENT NEWS
Things are back to normal.  I received quite a few lessons to review.  Generally more Lesson 1 swatches arrive.  This week most were Lesson 2.  It makes me happy to see students progressing through the course.

TIP OF THE WEEK
A question that comes up when students do the extra credit pattern in Lesson 3 or in Level 1 of the Masters program is about the difference in Multiples and Repeats in patterns.  Part of the problem is the terminology.  If you have knit for more than one week you know that there is very little consistency with knitting terminology.  I am going to use the terminology we use in the Masters Program.  I did do a video for this tip:  Video

Multiples
If you look at stitch dictionaries like Barbara Walker's Treasury of Knitting series, you will see the information like the following included with the row instructions for each stitch pattern:

Multiple of 4
Multiple of 6 plus 2
Multiple of 24 plus 3

The "Multiple" is the number of stitches it takes to complete the pattern once.  The "Plus" number of stitches is the number of stitches you need to balance or complete the pattern if you are working it flat.  In the example below,  three multiples of the stitch pattern have been worked.  Each multiple is made up of 6 stitches,  4 stitches for the cable and 2 stitches for the reverse stockinette between the cables.  To balance and complete the pattern on the left side of the swatch there are 2 additional stitches for the reverse stockinette stitches.   

If I were going to use this stitch pattern in a swatch knitted flat and I needed to determine how many stitches to cast on, I would multiply the number of cables I want (3) by the multiple number (6). This gives me 18 stitches. I then would add the "Plus 2" which gives me 20. If I wanted a border (as shown in the photograph) I would then add those stitches.

The "Plus" stitch in this stitch pattern would be ignored if you were working this pattern in the round.  If you included the "Plus 2"  There would be 4 reverse stockinette stitches between the first and last cables. 

In the photograph which follows , the lace pattern is a multiple of 8 plus 1.  Each 7 stitch lace motif is separated by a single reverse stockinette stitch.  If I were casting on stitches for this swatch I would need 24 (8 stitches multiplied by 3 (the number of lace motifs I want).  I would then add the "Plus 1" for a total of 25.  If I wanted the border, I would need 6 more stitches.



Repeats
In the Masters Program we use "Repeats" to indicate the the number of times you work the rows of a stitch pattern.  I think the confusion comes from the word itself.  As a noun, it identifies a specific thing.  As a verb it can be used in a variety of ways.  For example, "I am going to repeat the multiple 3 times." 

Here is an example of what you might find in a stitch dictionary for the first swatch:

Simple Cable

Multiple of 6 plus 2

Row 1 & 3: *P2, k4; rep from * to last 2 sts, p2.

Row 2 and all even rows: *K2, p4; rep from * to last 2 sts.

Row 5: *P2, C4F; rep from * to last 2 sts, p2.

Row 6: *K2, p4; rep from * to last 2 sts

Repeat Rows 1-6.

This pattern has a Repeat of 6 rows.  If I were writing a pattern for this swatch I would tell the knitter to repeat Rows 1-6 four times. 

You may want to think of the Multiples as giving you HORIZONTAL information and Repeat as giving you VERTICAL information. 

Some stitch dictionaries provide only charts.  For this chart the "Multiples" are shown as separate from the "Plus 2" by dark lines. 


In patterns for garments the designers have figured out the multiple and repeat information for you but it is usually provided, either in preliminary information or in chart format.  Each publication and individual designers present this information in different formats which contributes to the confusion. 

The examples used above are very simple ones.  It is fairly easy to use stitch patterns of this type in patterns or to translate to chart format.  Not all stitch patterns you find will be so easy.  The project I am working on is an example of that type.

KNITTING SALON
Salon will be on Saturday even though there is a football game.  Since I am teaching the finishing course on Sunday, I had no choice.  Sorry Sports Fans!

CURRENT PROJECT
I've been working on the linen stole for the Spring Issue of Cast On.  I fell in love with this yarn at TNNA.  It is Shibui/linen.  I wasn't sure what size needle to use so I did a gauge swatch.  Notice I practice what I preach. 



The top swatch was worked on Size 5 needles and the bottom one on Size 4.  I liked the larger size better.  One thing I like about this lace pattern is that it is reversible which makes it ideal for the stole.  I've used this stitch pattern before.  It is from one of Barbara Walker's books.  I've made slight modifications to it.  It is an excellent example of a more complicated stitch pattern.  The REPEAT is 24 rows.  The MULTIPLE is 12 but the Plus is the problem.  Technically, it is 3.  Usually the Plus is added at the end but in this case, 2 of the stitches are worked BEFORE the multiple.  Due to the way the increases and decreases at the beginning and end of the pattern are worked, you actually have to work the last two stitches of the pattern differently.  Writing patterns for stitch patterns of this type are always challenging.  I've worked up a preliminary chart using Walker's as a guide but it needs some editing to make it easier for another knitter to use.

Here is the stole so far.  It will look better when blocked.


 

Traveling is a lot of fun but it is so nice to be home.  I am almost caught up with the stuff that piled up while I was gone. 

I enjoyed the meeting very much.  I had great students and it was wonderful having so many Master Committee members present.  There were 10 committee members present.  (By the way, I got every one's permission to include this photo.  They are great sports!)  From left to right...Martha, Suzanne, Charles, Celia, Leslie, Binka, Sue, Mary, Christina and Sharon.  These are some of the folks who review the Masters submissions.

This photo shows my favorite view...Starbucks to the right, the casino to the left.  I had fairly good luck at the casino as did Charles.  I didn't knit as much as I normally do at conferences!



STUDENT NEWS
I got lots of orders for the Basics class while I was gone.  My iPad makes it easy to keep up.  I used to have to drag a laptop.  I didn't have that many lessons to review when I got home but I managed to get them in the mail the next day.  I am home now and waiting and ready for lessons!

I got news a few days ago that my Gauge correspondence course has been approved.  I need to work on the materials a bit to transform it to a correspondence course but it should be ready to go by the end of next week.  I am quite excited about this.  For many years I didn't bother with gauge but once I started designing I had to suck it up and spend time working out the kinks.  I am like a reformed smoker...I want everyone to understand how gauge works.  The course will cover how to work gauge swatches and how to accurately calculate gauge.  It will include how to use the gauge information when using patterns, modifying patterns and designing your own garments. 

TIP OF THE WEEK
My tip this week was partially inspired by the conference.  Sometimes the yarn that the students bring to class really causes a problem.  I generally specify in course descriptions that the students bring light colored worsted weigh wool and I am amazed how how this can be interpreted.  I've decided that for some of my classes I am going to prepare yarn kits for the students.  It is very difficult to learn a new technique with novelty yarns.  Part of being an accomplished knitter is the ability to select appropriate yarns for projects.  For classes you have to select a yarn that lets you see your work.  Fuzzy, nubby, heathered, tweedy, and dark yarns do not let you (or your instructor) see your work. 




The swatches in this photograph show the types of yarns that students have brought to class.  Can you tell the stitch patterns in Swatches 1 and 4?  Absolutely not.  (By the way, it is garter stitch.)  Yarns like these have their place but not when you are trying a new technique.  You can see the stitches in Swatch 2 but it is next to impossible to rip out the stitches  which you sometimes have to do in class.  I've included Swatch 3 to demonstrate what heathered and tweedy yarn looks like.  A yarn is heathered when 2 or more strands of different colors are plied together.  Tweedy yarn has nubs of different colors in the strands.  Heathered yarn is great for projects because it hides problems.  This makes it a poor choice for classes.  If you can't see problems, you can't fix them.

 

Here are some swatches I've used for examples.  This is simple worsted weight wool.  You can clearly see each stitch.  Even if you never use worsted weight wool for projects, it is excellent for the class environment.  Once you learn the technique on yarn like this, you can translate that skill to projects worked in different yarns.

When I decided to do this topic, I asked the co-chairs of the Masters Committee if they had anything they'd like me to say about the yarns to use for the Masters Program.

Yarn for Masters (and Basic Class) Swatches
The first question you have to ask is if the yarn can be blocked.  This will rule out quite a few yarns.  It is very difficult to block acrylic yarns.   It either doesn't work at all or the swatches look limp and melted.  It is a problem for some superwash wools as well. The yarn that gives the best results are 100% worsted weight yarns like Patons Pure Wool, Lion Brand Fisherman Wool, Cascade 220, etc.  Sometimes knitters who live in warm climates or have wool sensitivities ask if they can use alternate fibers.  Yes, you can but the swatches have to be adequately blocked.  If the fiber can't be blocked, don't use it.  It may take some experimentation to find an appropriate yarn.  Remember, may fibers, like cotton, can contribute to tension issues.

Color is another issue for the Masters Swatches.  Don't use dark yarns.  The reviewers (and you) can't see the stitches.  Color is subjective but it is safer to stitch to pale colors.  Heathered yarn should never be used.  The reviewer will not be able to evaluate your tension. 

Yarn for Masters Projects
Several projects are required for the Masters programs.  The first question to ask is if it is an appropriate weight.  Chunky or Heavy yarn should NOT be used for any project.  Yes, it is quicker to knit a vest in chunky yarn but it doesn't allow you to show off your skills.  Yes, you can knit a fair isle hat in worsted weight yarn but part of the equation is selecting the weight of yarn traditionally used for such projects.  You will not be able to get the same complexity of design.

Color is another issue.  Many knitters raid their stash for yarn for the projects.  Color choices are evaluated as well for the argyle sock, fair isle, slip stitch and intarsia work.  Some research will be necessary.  There should be enough contrast to show off the design.  Some leeway for the vest and sweaters is possible but the reviewers still have to be able to see your work and that is not possible if you use a fuzzy, heathered or dark yarn.

Yarn for Projects
 It is also important to select appropriate yarns for your own projects.  Often knitters fall in love with a particular yarn.  Remember, how it looks in the skein has very little relationship to how it will look in a project.  You may love a particular variegated yarn but I can almost guarantee that if you use it in a sweater the colors will pool in very unfortunate spots.  You may love the black cotton you have selected to knit your husband an Aran sweater but the color will not show off the cables and if it rains the sweater will weight 20 pounds. 

My rule (which NO ONE EVER follows) is to buy just ONE skein of the yarn you want to use.  This can save you tons of money in the long run.  Knit your gauge swatch.  You may discover that the yarn obscures the stitch pattern.  You might find that it splits too much or is too slippery or fuzzy or that it hurts your hand.  You might find you can never get gauge with it.  The point is, you are not stuck with 10 skeins of the stuff. 

This photo shows some of the swatches I have made while trying out yarns for projects.  There are three herringbone swatches.  I decided to use the top one.  It was wonderful to work with.  The second one hurt my hand and the third one produced a fabric too soft for the project.  The pink pleated swatch taught me that I wanted to use a lighter weight yarn for the baby dress.  This yarn was too heavy.  The red swatches showed me that this yarn would work for the project.  It looked good in stockinette and it was stiff enough to show off the elongated stitch pattern. 



KNITTING SALON
Salon will be on Saturday from 2-5pm.  I thought about changing the day to Sunday.  The historic house across the street is having a function.  Apparently a minor Civil War skirmish occurred there.  It is a "Living History Day".  Animals, crafts, etc.  Parking may be a bit difficult.

Starting next week I am teaching my finishing class to some of the knitters who come to Salon.   I love teaching finishing.  It should be fun.  We are having it on Sundays since the Metropolitan Opera simulcasts begin in October.  I can't wait!

CURRENT PROJECTS
I had finished pretty much finished the garter stitch skirt before I left for Reno so I took the cabled skirt with me.  I didn't get much knitting done as the casino proved a distraction.  Then we went camping and it got quite cold at night in the Eastern Sierras and Yosemite.  I did manage to finish it when I got home. 



I am quite pleased with how this turned out.  I also like the cabled one as well.  The drape of this yarn is wonderful.  It will really look nice when the wearer is walking.

I had a real epiphany while working on the waist bands.  One of the problems with skirts with elastic in the waistband (which don't have an opening) is that it has to be loose enough to go over the hips.  If you use a standard bind off for the waistband casing you can pretty much forget it.  I researched a bunch of looser bind offs and decided none would work.  What I did was keep the waistband stitches live and use a sort of kitchener grafting technique to close the casing.  Not only is is very elastic it also looks really good on the inside.  I suspect that this is a well known technique but I didn't research it at all so I am happy I figured it out on my own.  The pattern for Cast On will have a link to a video where I demonstrate this.

I have been busy trying to get ready for the meeting in Reno.  I usually ship out my course materials in advance but it slipped my mind.  I'll have to drag everything with me.  Since we are going on a camping trip in California immediately after the meeting I have to get that stuff ready as well.  I guess I know what I will be doing this weekend. 

So far I've received yarn from Miss Babs and Briar Rose for the door prizes at Masters Day.  Hopefully the rest will get here before I leave.  I appreciate their generosity.  I know the attendees will also!

I will not be making a blog entry again until September 28th.  I am going to try and remember to take photos.  I think there will be 10 (!!!) committee members at Masters Day.  I hope to get a photo.

STUDENT NEWS
I reviewed lots of lessons this week.  I will be able to review any that arrive today and Saturday.  My neighbor will take in any that arrive while I am gone.  I will review them on September 12. 

TIP OF THE WEEK
This weeks tip is a continuation of last week's tip.  One thing that I have noticed in many of the lesson I review is that students have difficulty with blocking ribbing and cables.

When you are blocking textured stitch patterns like ribbing and cables, it is very important that you do not flatten the stitches during blocking.  You can flatten them by stretching the fabric too tightly or by over enthusiastic applications of a steam iron.   Blocking ribbing and cables

Compare these two photographs.  These swatches have the same number of stitches and rows.  The first has been stretched during the blocking process.  Notice that the stockinette stitches are open and lace-like.  The ribbing is no longer ribbed.  It is absolutely flat.  In the second photograph, the knitted fabric is not stretched.  The selvedge edges are flattened and pinned and the ribbing is not stretched at all.  It is smooshed into place and the edges are flattened.  Selvedge stitches should not be curled under the fabric.  It makes it easier to finish the edge when they are flattened.



Many knitters try to solve problems with their work through blocking.  As the first swatch illustrates, yes, you can make something larger but it may not look right.  Yes, you can disguise some tension problems by overblocking but they will still be visible.  Blocking should enhance the fabric, not make it look worse.  Lace is the one fabric type where it is almost impossible to overblock it.  Stretching just opens up the yarnovers.  Refer to the photos in last week's blog of the Wasp Wing lace.

Cables present a different type of problem.  When you are planning a cabled project, the first thing to consider is how you want the cables to look in the final project.  For example, in an Aran project you do not want the cables stretched very much.  The beauty of an Aran project is the texture of the different stitch patterns.  When blocking the pieces you would want to be very careful not to flatten the cables and bobbles.  For other types of cable patterns, you may want to stretch the fabric a bit as in the photograph below.   The swatch was blocked the way I wanted the final fabric to appear.  The reverse stockinette is flat but the cables are not flattened.

 

 

 

 

In photograph below, the swatch hardly looks blocked at all but it is.  For this project, I did not want the reverse stockinette between the cables to be very visible.  By the way, those are dental elastics in the cables.  I use them to  mark the cable row.  It makes it easier to keep your place.  You cut them out of the fabric when you are finished.

 

 

KNITTING SALON

Sue from IN, who recently finished the Basics course and is embarking on the Masters Program came to Salon last week.  It was very nice to put a face to a name (and Ravatar).  We are a very informal, friendly group.  We just sit and knit.  If you are ever in Lexington when we are having Salon, let me know.  You will be welcome.

 

Salon this week will be on Saturday from 1-4pm.  Friends have asked us to the UK game and tailgate party.  I will need the extra time to get ready since it is supposed to be cold.  The next Salon will be on Sunday, Sept. 23.

 

CURRENT PROJECTS

I am so close to finishing the skirt.  I've got about another inch or two.  I've pinned it to the form.  I really like who the yarn is working out.  This skirt demonstrates why garter stitch needs to be blocked.  It just looks a bit lumpy and bumpy.  I'm not sure I will have it finished before I got to Reno.  I have to graft the sides together and pick up stitches for a waist band, not to mention, finish the knitting.  I am going to work on the other skirt on my trip. 

 

 

I had lots of time this week to knit which is always a good thing.  I got a good head start on a project, plenty of time to read and caught up on tv series I had recorded.  I feel like it was the calm before a storm.  I remembered to contact Redfish, Baah, Briar Rose and Miss Babs to see if they would like to donate some yarn to give as door prizes at the Masters Day in Reno.  The good news is all said yes.

By the way, I just heard that there is still room in two of my classes.  One is the Shoulders and Seams class.  It is mostly finishing but we do short rows.  The other is my Gauge class.  This is the last time I will teach it.  (Sniff) 

STUDENT NEWS
I got lots of new course orders this week, many due to Sue from IN who finished up the course a few weeks ago.  It makes me very happy that she feels the class was so beneficial that she recommended it to friends.

TIP OF THE WEEK
Here is one of those topics, like tension,  that gives the reviewers in the Masters Program the reputation as the "Knitting Police"...BLOCKING.  If you are doing swatches for the Masters Program (or for my Basics class) all of the swatches must be blocked before they are submitted.  To be properly blocked, the edges should not be curled, the corners should be squared off, and the sides should be the same length.  This is part of "finishing" for the swatch.   It demonstrates your best work.   Tip of the Week

Several factors impact blocking. First of all, you have to use a fiber which can be blocked.  It is next to impossible to adequately block some fibers.  For example, it is next to impossible to block acrylics.  Try knitting a small stockinette swatch.  Photograph it.  Block it properly.  Compare the before photo to the swatch.  There will be almost no difference.  The sides and the top and bottom will be curled.  Yes, you can try steam blocking acrylics but be careful, the fabric might melt.  Part of becoming a Master Knitter is understanding what fiber to select for projects.  If the fiber cannot be blocked, it should not be used for swatches.

The stitch pattern is also a consideration.  Stitch patterns, like stockinette, which produce curled edges should be blocked.  Some knitters don't block stockinette if the edges will be seamed.  Keep in mind it is easier to finish edges which have been blocked.  Some stitch patterns, like lace, MUST be blocked.  If you don't, it won't look like lace.  Trick Question:  Should acrylics ever be used for lace?  See above.  Textured stitch patterns, like cable and ribbing, must be blocked very carefully.  Always consider how you want them to look in the final product.  For example, I would block the pieces for a Aran sweater very differently than I blocked the Medusa Coat (see below) where I wanted the cables to appear like embossed motifs.  Don't stretch ribbing or cables unless you want to completely flatten them.

The blocking method depends upon the fiber and the final results.  For most projects, wet blocking works.  Why?  Think about how you are going to launder the final fabric.  The one thing that I am not going to discuss in this blog is the mechanics of blocking.  Leslie Gonzalez, one of the co-chairs of the Master Hand Knitting Committee has an EXCELLENT video on how to block.  Here is the link:  Leslie's Blocking Video. 

If you ask most knitters to name three things they don't like to do their answers will include knitting gauge swatches, blocking and finishing.  (I think many knitters dislike doing these things since they aren't sure how to do them properly.)  Unfortunately it is these three things that make knitted garments fit and look hand made rather than home made.  What most knitters like to do is knit.  Their excuse is that these things take too long.  Yes, they do add time to the project but if you put it in perspective how long you hope to have the garment, it may not see that long after all. 

A gauge swatch is what you should do BEFORE knitting the project and blocking and proper finishing are what you do after knitting the project.

I've had knitters complain to me that, yes, they did knit a gauge swatch but the garment still didn't fit.  When I ask them if they blocked the gauge swatch, they look at me as if I have asked a completely ridiculous question.  How on earth are you supposed to know what the final fabric will look like unless you block your gauge swatch?  How can you get an accurate measurement?  Blocking the gauge swatch is essential. 

There is blocking for the Masters Program and then there is blocking in real life.  What do I recommend?  You will always find knitters who say they rarely block.  Good for them.  In some projects you can get by without blocking.  If you are knitting a stockinette baby sweater using acrylic yarn, why bother?  It wouldn't make a bit of difference.

I recently read The Ravell'd Sleeve:The Journal of the Couture Knitting Workshop  by Catherine Lowe (thanks for the recommend Suzanne) and I discovered that I have the same approach to knitting.  I like my garments to have a polished look and proper blocking contributes to that look.  I always wet block.  A friend of mine who is a dyer told me that to properly wet the fabric, it needs to completely absorb the water so I fill a basin with water and I place the fabric on top of the water.  Sometimes it takes minutes, sometimes it takes all night.  I always block my gauge swatches (even garter stitch).  I block the pieces before finishing and I sometimes block again after finishing. 

How you block or whether you block at all is up to you and how you want your final project to look is up to you.  One word of advice....be VERY careful if you use a steam iron.  During my time on the Masters Committee I reviewed thousands of swatches and the worst ones I ever saw were over blocked by steaming.  The stitch patterns were flattened and the fabric was sometimes scorched.  It was enough to make me put my steam iron away forever. 

KNITTING SALON
Salon will be on Saturday this weekend.  Generally in the fall I try to have Salon on Sunday so as not to interfere with the football schedule.  Sad to say, even my friends who were fanatical about going in the past are not going this year.  Doesn't bode well for the Cats.

CURRENT PROJECTS
I did finish up my Medusa coat and I am pleased.  Too bad it isn't cold enough to wear it yet.  I should be able to wear it in Reno.  By the way, I blocked this fabric very firmly.  As I said above, I wanted the snakes to appear embossed on a background of reverse stockinette. 

 

 

I finished up the second Leaves of Spring sock but I didn't bother to photograph it.

 

I got started on the side-to-side garter stitch skirt.  It is such a pleasant change from Medusa's Coat where I really had to pay attention.  I can read while working on it.  I used a provisional cast on and the skirt is shaped by short rows.  I selected Kauni Effekts as the color changes work well with the short rows.  I pinned it to the dress form.  Even thought it is garter stitch, am I going to block it? Of course.

 

 

 

 



 

 

 

It has been a very uneventful week which is fine by me.  The weather here has been absolutely beautiful but I am sorry to say that ragweed is pollinating which has made me a sneezing mess.

STUDENT NEWS
If you sign up for one of my correspondence courses and you don't hear from me within 2 days or so, assume something is wrong and contact me or TKGA.  I send out links to the materials as soon as I hear from the TKGA office.  There are four emails with the files.  If you don't get all four, let me know as soon as possible.  I prefer to send links as sending the actual files can take a really long time due to the graphics.   

When you send me a lesson, I review it the day I get it and put it in the next day's mail.  Depending on where you live, you should have it back in a day or two.  I indicate here or on Ravelry when I will be out of town.  A neighbor takes in my mail and so far (knock on wood) only one lesson has been lost.

TIP OF THE WEEK
There are many reasons for uneven tension and I've discussed ways to approach the problems in the past two weeks but those aren't the only reasons or solutions.  It is a very complicated issue and there is not a "one size fits all" way to fix it.

Some yarns contribute to tension issues.  Another thing to consider is the needles you are using.

I have been knitting for a long time and I have used pretty much every type of needle and I have discovered that I have a preference for uncoated metal needles with very pointy tips.  This is my preference and I would not ever make the suggestion that my preference would work for everyone.  When I first started knitting I was at a yarn store and a fellow knitter seeing my Boye needles sneered and said, "Serious knitters only use bamboo needles."  If you ever meet a needle snob like this one, run in the opposite direction.  What works for one knitter may not work for another.  By the way, I rarely use bamboo as they tend to slow me down (which has a detrimental effect on my tension) and they aren't pointy enough.  (I also tend to snap the smaller sizes). 

Carolyn, one of the co-chairs of the Master Hand Knitting Committee shared a story with me that when she got back her Level 3, she was dinged for tension issues at the selvedges.  She had used plastic needles instead of the ones she had used for Levels 1 and 2.  She switched back and the problem was solved.

 

Figuring out which needles you like best and which gives you the best results might take some experimentation.  This can get expensive.  If you are lucky enough to be in a knitting group, consider borrowing different types for a test drive.   

 

Keep in mind that you may want to use different types of needles for different yarns and stitch patterns.  If I am knitting with really slippery yarn, I use needles with more drag (like bamboo).  If I am knitting lace or cables, I want the pointiest needles I have which are the Signature Stilettos.

 

One thing we frequently see in the Masters Program is that some knitters will use much smaller needles than recommended for the yarn. Yes, this does improve tension for most knitters but the resulting fabric could be used for roofing tiles. This doesn't fool anyone. In the photograph above are two gauge swatches I worked for a pillow project. I wanted the fabric for the back of the pillow to be more like upholstery fabric to reduce the stretch. I used needles 4 sizes smaller. I would never use needles that size for that yarn if I were knitting a sweater. The fabric would be too stiff.

 

 

 

 

Knitters who use patterns don't need to worry all that much about this.  The pattern will suggest the needle size to get the desired drape and as long as you use a yarn of the recommended weight you should be fine.   In the Basics class and the Masters program, knitters aren't told what needle size to use but rather an "appropriate" size for worsted weight.  You will know it is an appropriate size if the resulting fabric has a nice drape or hand.  If it looks like lace, you are using needles too large.  If the swatch will stand on its own, you are using needles too small. 

 

KNITTING SALON
Salon will be on Saturday from 2-5pm. 

CURRENT PROJECTS
I only have about 1" to go until the sleeves are finished for my Medusa sweater.  I thought it would take much longer.  I should be able to block them today and sew them in tomorrow.  I have sewed the fronts to the back and finished the neckband.  One of the great things about this yarn is that there is 800 yds in each skein.  That really reduces the number of yarn tails to weave in.  It is going to take me a while to cut out all of the dental elastics I used to mark the decreases. 

I've received the yarn I am going to use for the skirts in the next issue of Cast On.  I was hoping someone on the committee would want to do the Fashion Framework article on skirts.  No such luck.  Since skirts require so much knitting (particularly for tall models!) I am getting a jump on the project.   The purple blue Briar Rose will be for the skirt in the lesson.  The Kauni will be for a side-to-side garter stitch skirt that uses short rows for shaping.  I should be able to get started by the end of the week.  I want to finish the second sock for the pair I started weeks ago.

 

I started the week off at the Kentucky State Fair to judge the knitting entries.  This year we started a new procedure where we provide comments for the knitters.  I hope they find it helpful!

I went from the fair to Granville, OH for the photo shoot for the Winter issue of Cast On.  We had a wonderful site.  The light was excellent.  Here's a photo I took of my pleated sweater.  The model was adorable and so sweet.

I only took a photo of my garment as I don't want to ruin the surprise.  The Stitch Anatomy lesson is on pleats and the Fashion Framework is felted purses.

STUDENT NEWS
It was a slow week.  I only had three lessons to review.  I do have quite a few new students.  I've never had a student from Peru before.  I look forward to working with them all.  


TIP OF THE WEEK
Last week I discussed general tension problems in stockinette.  Many knitters (including me) have problems at selvedges.  When you begin and end rows with different tension the first few stitches at the beginning or end of rows are overlarge.  Generally after the first few stitches you get into a rhythm.  The photos show oversized stitches at both edges.  Most knitters only have a problem at one side or the other.

Why is this a problem?  Think about how this edge would look in a seam or at the side of a button band.  It just looks awful. 

To solve this problem you first have to figure out where you are looser.  In most cases if the tension issue is at the right, the knit stitches are large.  If it is at the left, the purl stitches are large.  To make sure, cast on 12-20 stitches and work a few rows.  On a knit row, put a safety pin in one of the stitches.  Continue to work a few more rows and you can see where the problem is. 

There are many different solutions you can try.  Avoid the temptation of really pulling the working yarn tight when you work the the first two or three stitches.  Yes, it will make those stitches some what smaller but what it also does is pull the yarn from the end of the last row making those stitches even smaller.  After you've knit the first two or three stitches, you can try pulling the yarn tight.  This sometimes works to make those stitches a bit tighter. 

What works for me is to use combination knitting for the first stitches in a row.  Wrap the the first few stitches in the row the wrong way (over the needle for knit stitches and under the needle for purl stitches).  If you do this, remember you have to work those stitches through the back.  

Some knitters can solve this by just paying attention as they begin rows.   Yarn can be a contributing factor.  I always have tension issues when I use high twist yarn like Debbie Bliss Rialto. 

When you are trying to solve a tension problem, don't try different solutions on the same swatch.  Make one for each attempt.  This way you can analyze and compare the swatches. 

If you only the stitch next to the selvedge is the problem Maggie Righetti has a solution.  Work the selvedge stitch but don't take it off the needle.  Insert the needle into the second stitch and give the working yarn a bit of a tug.  This not only neatens up the selvedge stitch but also the stitch next to the selvedge. 

I show several solutions in my video for this week:  Tension issues at Selvedges.  Lana Grossa Yarns also has a solution which many have found helpful: Lana Grossa

By the way, blocking cannot solve tension problems.  If you are doing the Masters Program, this is something you must solve.  For other projects, just be careful about the yarn you select.  To me, the most difficult thing in the world to knit is a project in stockinette stitch with white cotton yarn!

KNITTING SALON
Salon this week will be on Saturday.  Summer is pretty much over here.  The schools started on Wednesday and UK starts next week. 

CURRENT PROJECT
I did finish the back of my sweater and have blocked it.  I am about half way finished with the fronts.  I'd like to finish them this week and tackle the sleeves.  The free form cables are supposed to be snakes.

 I am going to use this same yarn (Briar Rose Sea Pearl) for a skirt. The drape is fabulous. Since it will be in the Spring issue, I'd like a lighter weight skirt for the lesson. I'm going to do another skirt in Kauni Effekts which will be heavier.

Before I left on my trip I FINALLY took the time to do a complete index for the Tip of the Week.  I hope this makes it easier to find past posts.  If you have any suggestions for improvements or additional topics, let me know. 

It is nice to be home although the trip was fun.  Since I hadn't received my copy of the new issue of Cast On before I left and I wanted to give one to my Dad and sister so they could see the Decoration Day sweater I design in honor of my Mom, I had to find a store in Colorado that carries the magazine.   The ladies at Shuttles, Spindles and Skeins in Boulder were nice enough to help me.  It is a lovely store.  If you are in Boulder, you should definitely visit.  I felt bad that I missed Laura Farson who had been teaching there just a few days before.  I met Laura at the conference in NH.  She has a pattern in Cast On for felted slippers which I am anxious to try.  She will be teaching at the conference in Reno.

One highlight was a pilgrimage to Doc Holliday's grave in Glenwood Springs, CO. Family history has it that he is a relative (and my mom was a genealogist). I didn't take a photo of the grave but of a tavern instead.  I have always loved this sign.  When it is on there are red sparks coming from the end of the gun.  The spellings of "Holliday" weren't formalized for quite awhile.  You see it spelled a variety of ways in the family records.  You wouldn't believe the number of ways to spell it.  I answer to pretty much any version.  It is easier that way.

STUDENT NEWS
I came home to quite a few lessons to review but I managed to get them all out the day after I got home. 

I sent in a proposal for a new correspondence course on gauge.  The primary focus of the course will be how to use gauge to adapt patterns and to design but it will have to cover how to calculate gauge as well.  I am waiting to hear if it is approved by the TKGA Advisory Committee.  Since many of them are at Stitches Midwest I don't expect to hear anything immediately.  I would have liked to have gone to Stitches but I just couldn't face getting back in the car again so soon.

TIP OF THE WEEK
I approach the topic of this week's tip with trepidation.  Achieving even tension in stockinette can be very daunting.  Even tension means that the stitches are the same size from row to row.  There isn't a magic solution since there are so many reasons for uneven tension.  Most knitters don't even know they have a problem.  I have learned that while most knitters look very carefully at the stitches on their needle, they don't look at the stitches once they are off the needle.  You can't fix the problem unless you know there is one.  How do you know if you have uneven tension in stockinette?  

If you look closely at this photograph of the RS of the work,  you can see that the size of the stitches changes from row to row.  This gives it a corrugated appearance.  You may not even realize you have a tension problem unless you are working with a light colored yarn.  Dark colored, heathered, tweedy yarn disguises tension issues.  (That is why the Basics Class and Masters Program requires light colored yarn.)

If you look closely at this photograph of the WS of the work, you can see that there are gutters between the rows.  This is particularly noticeable in cable patterns where reverse stockinette separates the cables.






Before you can fix the problem you have to diagnosis why you have a problem.  Many knitters are not aware that the yarn they are using contributes to the problem.  It is very difficult to maintain even tension with inelastic yarns like cotton, linen, and acrylic fibers to name a few.  I would avoid using light colored yarns of these types for a stockinette project.  Even some 100% wools can be difficult.  High twist yarns like Debbie Bliss Baby Cashmerino highlight tension issues.  If you are doing swatches for the Basics Class or the Masters Program you will find worsted weight wool like Lion Brand Fisherman Wool, Cascade 220 and many others will give you better results.  Once you have eliminated the yarn you are using as the cause, you can explore other reasons.   

The most common reason for uneven tension is that you purl more loosely than you knit.  This happens more frequently to continental knitters since making the knit stitch is easier than the purl stitch and many knitters simply cannot get into a rhythm for the purl rows.  I am not a continental knitter but when I do stranded work I do use both hands and I prefer to do stranded work flat.  Suzanne Bryan on the Masters Committee directed me to a video that I found very helpful.  It is from a Craft Sanity podcast.  It really helped me with yarn management.  Continental Knitting Demonstration

Although the video just addresses continental knitting it can apply to right hand throwers as well.  If you have tensioned the yarn around your hand so tightly that it requires constantly resetting the yarn, you may want to experiment with different ways of holding the yarn. 

For many knitters just knowing there is a problem is the solution.  If you pay attention while you knit you can solve this problem.  If that isn't enough there are two other things you can try which I demonstrate in the video for this week.  Tension Issues 

The "standard" way to purl is to wrap the yarn OVER the needle but another way you can form the purl stitch is to wrap it UNDER the needle.  Try this and you can see that is uses less yarn to form the stitch which makes the resulting stitch smaller.  The problem with this method is that it alters the position of the stitch on the next row.  If you knit the stitch through the front the resulting stitch is twisted.  You must knit the stitch through the back.  This is called Combination Knitting.  Many have found it a solution to tension issues.

Another thing you can try is to use a smaller needle for purl rows.  This requires some trial and error testing.  Be careful not to mix up the needles as this will make the tension issues even worse.

When you are trying to fix a tension issue, use a systematic approach. Don't just try 20 fixes on one swatch.  Cast on 20 or so stitches and try a fix.  Bind off and LABEL the swatch.  Then try another solution.  This way you can clearly see what works or not.

Next week's tip will be about tension issues at selvedges.

KNITTING SALON
Salon this week will be on Saturday.  Quite a few people are out of town.   It will be nice to see everyone.  It seems like I was gone for ages but it was only a week. 

CURRENT PROJECTS
I really didn't knit all that much on my trip.  The Medusa sweater really requires that I pay attention.  I'm not using a pattern but am making up the cables as I go along and the cables are mirrored on either side of the back.  

This photograph really doesn't give you much of an idea of what this will look like when it is done.  It really requires blocking.  I'm still deciding how long it will be.  How much yarn I have will determine that.  The original I did was a coat but this will be much shorter.  I'm hoping to have the back finished this week.  I'd love to be able to wear this at the Reno meeting.

For airplane knitting I worked on the socks.  I managed to finish one.  I LOVE this pattern.