Jellyfish Scarf

Difficulty: Intermediate, involving entrelac and easy color work.

This scarf tones down the entrelac woven-basket look with garter stitch, creating a squiggly texture accented by wrapped stitches in a different color. It is turned on a bias, leaving an impression of squares rather than diamonds. The end effect is a beautiful fabric that is entirely the same on both sides. No accent buttons, beads, or lining, so the scarf is squishy soft and easy. Inspired by the possibilities of entrelac, the fashion and textiles I can’t afford by Mociun and Mer, and the squiggly Jellyfish at the Monterey Bay Aquarium.

SIZE
one size

FINISHED MEASUREMENTS

Length 60″
Width 6″
Diagonal Edge 9″

MATERIALS

[MC] Henry’s Attic Peruvian Tweed [100% alpaca; 600 yds per 8 oz. skein]; Gray with black thread; 1 skein.
Peruvian Tweed is wonderfully soft. The particular color I chose is smoky gray plied with black lace weight  yarn. Any color combination you like will work for this scarf, but the particular reason I like this one is that the plied lace weight is the exact opposite of the CC yarn, and the smoky gray has light gray highlights that come close the color of the CC yarn. Together they cover the entire gray scale. Also, using alpaca in the chunkier garter stitch with the reinforcement of the lace weight yarn helps the alpaca keep its shape beautifully.

[CC] Mystery Yarn [100% mysterious; approx 1000 yd per mysterious skein]; the lightest shade of gray before white; 1 skein.
This yarn was a bargain, and I don’t know what it’s made of, but really, any lace weight yarn will work for this project.  Having tried so many combinations of yarn for this scarf, I find that these guidelines yield the best results:
1. The chosen yarns should be a combination of one fat yarn and one skinny yarn differing by approximately two weight sizes. Although this means there are many more wraps involved, it also means that the wrapped stitches will be more noticeable because the thinner weight of the yarn allows the main color to be more prominent.
2. The color choices should be very different in both tone and hue, since similar tones seem to get lost in each other. The pattern works fine with one color, but might be best as a pure solid instead of a tweed.
3. Skinny variegated yarn makes the dots so interesting that I might make another one using Suri Elegance from the Alpaca Yarn Co., KPPPM, or a series of skinny handspuns. It’s a great way to show off beautiful skinny yarn but not knit with skinny needles.

1 US Size 5/3.75mm 24-inch circular needles

1 Size H/5mm crochet hook

Straight needles can also be used, circulars are recommended if you’re comfortable with them, because working the pieces section by section means the stitches sometimes get very stretched. It also helps to have a little bit of flexibility in picking up stitches.

Optional: 1 US Size 8/5mm double pointed needle or 1 cable needle.
PATTERN NOTES

The scarf’s cast-on and bound-off edges are made up of a series of triangles. Squares are made by working straight and to the side using the entrelac technique to create the shape of the scarf.

To make cluster with CC yarn:
without dpn: bring CC yarn forward, slip next 2 sts on to RH needle, move CC yarn to back, slip the same 2 sts back on to the LH needle and repeat 5 to 10 times or until desired effect is achievedorwith dpn: k next 2 sts and transfer 2 sts just knitted onto dpn; then wind CC yarn 6 – 10 times counterclockwise around these 2 sts, and return sts to RH needle.

After cluster is made, the first 2 sts worked are the 2 wrapped sts.

To pick up extra bit of MC yarn:
After cluster is made, the MC yarn is draped over the wrapped stitches in the back. To remedy this, in each row on the wrong side of the wrapped row, all stitches are knitted until the last stitch, the extra bit of the MC yarn is pulled up by the right needle onto the left needle, the last st knitted is slipped back onto the left needle so that the extra bit can be passed over the slipped st. The st is then put back on the right needle.PATTERNWith MC and CC held together, CO 32 sts.Base Triangles
Row 1 (RS): k2, turn. Row 2: sl 1 pwise, k1. Row 3: k3, turn. Row 4: sl 1 pwise, k2. Row 5: k4, turn. Row 6: sl 1 pwise, k3. Row 7: k5, turn. Row 8: sl 1 pwise, k4. Row 9: k6, turn. Row 10: sl 1 pwise, k5. Row 11: k1, make cluster, k6, turn. Row 12: sl 1 pwise, k5, pick up extra bit of MC yarn, k1. Row 13: k10 (the last st of the first triangle and the first 2 sts of the next triangle).

Beg with Row 2, rep Rows 2-13 twice more. Work Rows 2-12 once more. Next row: k8, turn. BO 8 sts, do not turn.

Squares Knit Straight
Row 1 (WS): pick up and knit 7 sts turn. Row 2: knit 8, turn. Row 3: K7, ssk, turn. Rep Rows 2 and 3, 5 more times. Next row: K1, make cluster, k6, ssk, turn.  Next row: k7, pick up extra bit of MC yarn, k1. Next row: k7, ssk  (do not turn) pick up and knit 8 sts, turn.

Rep from Row 2, twice more.

Next row: k8, turn. Work even in Garter st for 12 rows. Next row: k1, make cluster, k6. Next row: k7, turn. Next row: k7, pick up extra bit of MC yarn, k1. BO 8 sts.

Squares Knit to the Side
At the beginning of each row of squares knitted to the side, CO 8. Row 1: k7, ssk, turn. Row 2: k8, turn. Rep Rows 1 and 2, 5 more times. Next row: k1, make cluster, k6, ssk, turn. Next row: k7, pick up extra bit of MC yarn, k1. Next row:k7, ssk (do not turn) pick up and knit 8 sts, turn.Row 1: k8, turn. Row 2: k7, ssk, turn. Rep Rows 2 and 3, 5 more times. Next row: K1, make cluster, k6, ssk, turn. Next row: k7, pick up extra bit of MC yarn, k1. Next row:k7, ssk, pick up and knit 8 sts.Rep from Row 2 twice more.
Continue alternating between squares knitted to the side and squares knitted straight desired length is achieved, ending after a row of Squares Knit to the Side.End Triangles
Row 1: with one stitch rem (from last BO row), pick up and knit 7 sts, turn. Row 2: k8, turn. Row 3: ssk, k5, ssk. Row 4: k7, turn. Row 5: ssk, k4, ssk, turn. Row 6: k6, turn. Row 7: ssk, k3, ssk, turn. Row 8: k5, turn. Row 9: ssk, k2, ssk, turn. Row 10: k4, turn. Row 11: ssk, k1, ssk, turn. Row 12: k3, turn. Row 13: ssk, ssk, turn. Row 14: k2, turn. Row 15: ssk, turn. Row 16: k1, turn.Rep from Row 1, twice; then cont as foll:Row 1: with one stitch rem (from last BO row), pick up and knit 7 sts, turn. Row 2: k8, turn. Row 3: ssk, k6, turn. Row 4: k7, turn. Row 5: ssk, k5, turn. Row 6: k6, turn. Row 7: ssk, k4, turn. Row 8: k5, turn. Row 9: ssk, k3, turn. Row 10: k4, turn. Row 11: ssk, k2, turn. Row 12: k3, turn. Row 13: ssk, k1, turn. Row 14: k2, turn. Row 15: ssk. Fasten off.

FINISHING

Work one row of single crochet on each of the short edges to stabilize and match edges. Weave in ends, block as desired.

Prism

Prism

Difficulty: Experienced, or Adventurous Intermediate
This pattern is based on a formula which requires basic math skills. The knitter should have experience with decreasing and picking up stitches. Additionally, certain knowledge is assumed and not written out explicitly, such as how to work a 1 x 1 rib or how to work a buttonhole. The pattern also leaves some options open for the knitter to style the sweater in their preferred way. The pattern involves a unique modular construction, whereby the pieces can be joined as they are worked, minimizing the amount of seaming at the end, but requiring some experience and attention on the knitter’s part. Conventional seaming is an option as well.

Prism is inspired by the way a swatch of centered double decreases mimics the line of the shoulder, and the way a repetition of shapes in a modular design can really be amazing when those shapes are scaled up and down as needed.

SIZE
XS [S, M, L, 1X, 2X, 3X] (shown in size XS)

MATERIALS

This pattern lets you focus on the yarn you have or really want to use, in whatever gauge you like. 1 set straight needles, size to be determined by your chosen yarn and desired gauge.

1 set 32 inch circulars. the same size as the straight needles. 

Tapestry needle

3 buttons, 7/8″ in diameter

PATTERN NOTES

The shaping is created by the double decreases down the center of the piece. As long as the same type of decreases are used throughout, any type of decreases can be used. Since any gauge can be used, sizing is done by swatching and then working through a few basic calculations to get started. In order to get the most accurate idea of the size of the finished garment, the swatch should be blocked or washed in the same manner as will be used for the garment. It helps to know how to center a decrease, so that counting stitches won’t need to continue past the first decrease row. 

PATTERN
Calculations

Gauge
Find the gauge for your chosen yarn and needles, over stockinette stitch. ________st x ________rows = 4 inches

Gauge Per Inch

Divide by 4 to get your gauge per inch (If you get a decimal, round it to the second or third decimal place). ________st (this is SPI) x ________rows (this is RPI) = 1 inch.

Multiply SPI by 10.5 [11, 12, 12.75, 13, 13.5, 14] and find the closest odd number. This is CB (and refers to the shoulder on Diagram 1) ________.

Subtract 3 from CB. This is the number of sts you need to decrease in piece 1, or DS ________.

Divide DS in half. This is AB ________.

Multiply your RPI by 15.5 [16, 16.25, 16.5, 16.75, 17, 17.25]. This is total rows (TR) ________.

Divide TR by AB. This is approximately the number of rows you will work between decrease rows, or DR ________. So, for example, if this number is 4, you will decrease every 4th row. If this number is an odd number, round up or down depending on your height. If shorter than average, you might want to round down. If taller, round up. You can also calculate an uneven decrease plan, in which you might decrease every 4 rows for half of the piece and then every 6 rows for the second half of the piece, for example. There is also an opportunity later in the pattern to lengthen the sweater.

Piece 1

CO CB. Row 1 (dec row): *K AB, sl 1 st kwise, ssk, psso, k rest of row. Row 2: sl 1 st pwise, p until last st, sl 1 st pwise. Row 3: k. Row 4: as row 2. Rows 3 and 4 might be repeated or omitted depending on the number you got for DR. Row 5 (dec row): k AB -1, sl 1 st kwise, ssk, psso, k rest of row. Row 6: as row 2.

For each subsequent dec row, you will subtract 1 more st from AB. So, the next time you dec, you will k AB -2 and then work the dec. In the next dec row, you will k AB -3, and so on. This centers your decreases.

Rep from * until 3 stitches are left, k3tog. Break yarn, pull through, leaving a tail long enough to weave in later.Piece 2

For each st CO in piece 1 pick up a st along CB on piece 1. Work to match piece 1.

Piece 3

Piece 3 is worked up along the first two pieces to close the armhole.

CO AB. If it’s an even number, add 1. While working in the same manner as pieces 1 & 2, join with pieces 1 & 2 as pictured in Diagram 2. (Refer to the optional joining, or work separately and seam later.)

Optional joining: In each RS row: pick up 1 st from edge CD on piece 2 with right needle, sl 1 st from left needle kwise, pass the picked up st over the slipped st, sl onto left needle and k as the first st in pattern. Work to last st, sl last st onto right needle, with right needle pick up st from edge CD on piece 1, sl both sts back onto left needle, and use the right needle to pull picked up st over the last st. K the last st. Wrong side is purled with the edges slipped pwise, as already in pattern, and no sts are picked up. Continue to do this until there are 3 sts left, then pick up a st from piece 1 and piece 2, and k5tog.Pieces 4, 5, and 6

Duplicate pieces 1, 2, & 3. This forms the second sleeve.Pieces 7 and 8

The next two pieces are adjacent to the pieces 1 and 4, so the two sleeves need to be laid out so that it is decided which sleeve is left, which is right, and which piece is the front. Cast on AB. If it’s an even number, add 1. Continue in pattern while joining one side. Do the same for the next piece but on the opposite side.Piece 9

This piece joins the front of the garment. Multiply CB by .75. This is the front (F) ________. CO F, and starting at 1/4 of the length down from the shoulder of pieces 1 & 2, work down from the neck, joining with pieces 7 & 8.

Piece 10

This piece joins the back. Multiply CB by .25. This is a quarter of CB (QCB) ________. Add to CB. This is the back (B) ________. Cast on B, and work in a similar manner to piece 3. When QCB remains, bind off. This is at the nape of the neck.

Waistline shaping

To continue adding to the length of the garment, starting where piece 10 and 2 meet and placing a marker at this point, pick up one stitch for each stitch at the bottom of the garment using circular needles in the same size as the straight needles. Knit the first round, then begin shaping with double decreases centered directly under the pointed endings of pieces 1, 2, 4, 5, and 9 (all of the pieces that have been worked top-down). Work until desired measurement is achieved. Trying on the garment at this point is strongly encouraged! End at the marker.

Ribbing
Begin ribbing by working in a k1, make 1 pattern under every piece except for the back (piece 10). Under piece 10, work a 1 x 1 ribbing. On the next round, work 1 x 1 ribbing, and every m1 will become a purl stitch. This has the effect of spreading the front out in a flattering manner, and gathering the back a bit. Continue the 1 x 1 ribbing until desired length is achieved.

Armhole ribbing

Multiply your SPI by 2. This is your buttonhole tab, or BT ________. Using circular needles, and starting at the shoulder (point C), pick up stitches along the entire armhole, casting on BT at the end for the buttonhole tab. Do not connect to work in the round. Work back and forth in 1×1 ribbing for 3/4 inches, or half of desired length. Work buttonhole in buttonhole tab, then continue 1×1 ribbing for another 3/4 inches or desired length. BO in patt. Repeat for the other side. (The original test sweater was knitted without the tab and it was picked up and worked in the other direction later. Either method will work, but working the tab with the ribbing all at once is seamless.)

Neckline

Work a strip of 1 x 1 ribbing, 1” wide. Length is determined by measuring the  neckline along the seam, as shown in Diagram 6. Work a buttonhole about 1 inch from the end.

FINISHING
Seam all edges as shown in the diagrams, if not already joined. Treat fabric as the swatch has been treated to unify the garment.

Pegboard Lace Tunic

Pegboard Lace Tunic

by Caroline Bautista

Difficulty: Intermediate. Peggy requires no shaping by increases or decreases, but is made up of a 10 row lace pattern. It is an appropriate project for someone beginning in lace, and a very simple project for anyone already familiar with knitting lace. 

Pattern Inspiration: There have been a lot of bundled, drapey, ruched looks on the runway and in the stores. I thought it might be fun to try something that would enable the wearer to shift pockets and drop necklines after the whole garment is knitted, and then change back if there is any regret. The tunic, with all of its lacy holes, is the pegboard, and the knitter can create any size additional pieces – these are just scarves and icords – to attach anywhere in all different ways. The icords with buttons become the seams, and these can be knitted any length.

The lace pattern chosen has the look of a bias piece without the bias edges, so any lace with straight edges can be substituted, especially if the front and back are worked separately and then seamed up the sides.

Photographers: Quinn Bautista & Anna Wilcoxon/Model: Caroline Bautista

SIZE

S [M, L, XL, XXL] (shown in size S)
Sizing information from yarnstandards.com.
Ysolda Teague provides a very extensive size chart on her blog.

FINISHED MEASUREMENTS
Chest: 31 [34.25, 37.75, 41, 48] inches
Length: 20 [21, 22, 24, 26] inches

Plenty of positive ease is recommended, since this is a garment intended for layering. The model wears it with up to 3 inches positive ease. Although there is no shaping, the bias look of the lace, and its drapey quality helps prevent it from looking boxy. It is best to make the garment larger if in doubt about size, because there are plenty of ways to fit the tunic later with ruching and draping.

MATERIALS

[MC] Classic Elite One Fifty [100% fine merino; 150 yd per 50 g skein]; 7203 Pewter; 4 [4, 5, 6, 7] skeins.

Classic Elite One Fifty is listed as a sport weight yarn, but was chosen because it feels much like a DK weight, but is very light. Any DK or fingering weight yarn can be substituted, since the lace pattern can easily be scaled up or down easily.

 

1 US Size 10/6mm 24-inch circular needle
2 US Size 6/4mm double pointed needles
stitch marker
3 – 5/8” buttons, or amount desired.
Tapestry needle

GAUGE
14 sts X 19 rows = 4″ in pattern, blocked

PATTERN NOTES
MPMK’s list of abbreviations. 

The pattern starts at the neckline as two separate pieces and is joined and worked in the round to the hem. The neck is finished by creating separate pieces and attaching them later after all knitting is finished.

When working the lace flat, please note that the first 2 sts in Row 6 are purled and the bordering purl stitch at the end of every wrong side row is left off in this row. This is also the row to watch when working in the round. Row 30 [40, 40, 40, 50] in each flat lace panel decreases the piece by the 2 bordering sts so that the lace can be worked continuously in the round.

ML: Make loop. Knit 1, but do not drop stitch from left hand ndl: bring yarn between needles to front of work, wrap yarn once around left thumb to create a loop, bring yarn between needles to back of work, and with right hand ndl, knit same stitch a second time, sliding stitch from ndl as usual. Pass first st over the second. (Crazy Aunt Purl has a great photo tutorial on the Make Loop stitch here.

PATTERN
Front
With circular ndl, CO 56 [62, 68, 74, 86] sts using a cable cast-on.

Row 1 (RS): K1, *K4, K2tog, YO; rep from * to last st, end K1.
Row 2: P1, *YO, P1, P2tog, P3; rep from * to last st, end P1.
Row 3: K1, *K2, K2tog, K2, YO; rep from * to last st, end K1.
Row 4: P1, *YO, P3, P2tog, P1; rep from * to last st, end P1.
Row 5: K1, *K2tog, K4, YO; rep from * to last st, end K1.
Row 6: P2, *P4, YO, P2tog; rep from * to end.
Row 7: K1, *K1, YO, K3, K2tog; rep from * to last st, end K1.
Row 8: P1, *P2tog, P2, YO, P2; rep from * to last st, end P1.
Row 9: K1, *K3, YO, K1, K2tog, rep from * to last st, end K1.
Row 10: P1, *P2tog, YO, P4, rep from * to last st, end P1.

Rep rows 1 – 10, 1 (1, 2, 2, 3) more times. Work rows 1-9 once more. Piece meas approx 7 [8, 9, 10, 11]” from CO. Next row (WS): P3tog, YO, P4, *P2tog, YO, P4; rep from * to last 6 sts, end P2tog, YO, P3, P2tog. [54 (60, 66, 72, 84) sts rem]. Break yarn, leaving a 10” tail. Hold on ndl.

Back
Work as for front (sts from front can be kept on the ndl while back is worked). If a larger armhole is desired, additional repeats of the flat lace panel can be added before the join.

Join for Body
Being sure pieces are facing the same direction (ie with RS of each piece facing), place marker and join work working in the round. [108 (120, 132, 144, 168) sts].

Rnd 1: *K4, K2tog, YO; rep from * around.
Rnd 2: *K3, K2tog, K1, YO; rep from * around.
Rnd 3: *K2, K2tog, K2, YO; rep from * around.
Rnd 4: *K1, K2tog, K3, YO; rep from * around.
Rnd 5: *K2tog, K4, YO; rep from * around.
Rnd 6: Sl 1 pwise wyib, YO, K4, *K2tog, YO, K4; rep from * to last 6 sts, end K2tog, YO, K4; sl 1 pwise wyib, remove marker, place slipped st back to LH ndl, K2tog, (working last st of rnd with slipped st at beg of rnd), pm.
Rnd 7: *K1, YO, K3; K2tog, rep from * to end.
Rnd 8: *K2, YO, K2, K2tog; rep from * to end.
Rnd 9: *K3, YO, K1, K2tog; rep from * to end.
Rnd 10: *K4, YO, K2tog; rep from * to end.

Rep rnds 1-10 until entire piece meas 20 [21, 23, 25, 26] inches from join, or desired length. BO all sts.

Neckline
With circular ndl, CO 32 sts using a cable cast on. Work rows 1-10 of pattern as for Front, until piece meas 31” from CO (or desired length), end after WS row. BO all sts.

I-Cord Tie
With dpns, CO 3 sts. Row 1: *K3tbl, slide stitches to the opposite end of ndl, and pull yarn tightly across the back; rep from * until cord meas 29”, or desired length. AT THE SAME TIME, in the first row and every 11th row, k1tbl, ML (see above), k1tbl. BO all sts.

I-Cord with Buttons
Work as with I-Cord Tie, but before CO, string shaft buttons onto yarn as you would with beads. AT THE SAME TIME, in the second and every 12^th row, add a button to the middle st. Continue until piece meas 4 [ 4, 5, 5, 6]” or desired length.

FINISHING
Weave in ends. Block to attain measurements and to open lace pattern. Need help with the icord “seams”? Check out Caroline’s video tutorial:

and…

knitted calligraphy

Most recently my knitted fonts have turned into what looks more like knitted calligraphy, and eventually, I should be able to nail down how to make these letters consistently enough to create some boolean operator pillows – if, then, and, or, & not – so that you will be better able to sort the group of friends, kitties, and pups that might result on your couch (I assume everyone needs this, and so am willing to help). Copperplate is the kind of calligraphy that uses the nibs that are split. When you press down, the line is thicker, but when you use it lightly it writes in the thinnest hairline…

It looks Spencerian, which used to be how people were taught to write. Although no one writes this way anymore, there are any number of stuffy instructions on how to learn copperplate still in existence, and I’m sorry to say I have read one enough to actually learn. This is how the “i” is written incorrectly, with a group of wacky examples that end up more inspiring than the correct “i”:

The book kindly points out that such sloppy work might be due to a “careless, too rapid motion.” Okay! I’ll slow down! Mine is still not quite right, but it is certainly getting closer:

My next challenge, the letter “o”:

Believe it or not, this knitted “o” was completed before I noticed the stuffy instructions on how to create a “visual balance”, but they look very similar:

The stuffy instructions must have been hiding out in a dusty part of my brain, willing to come out only to help me knit. It’s funny how things turn out because calligraphy can be really slow, and now I’ve found a way to make it even slower.

Anyway, I am glad that everyone’s work I have seen in progress for the brewery art walk is so stunning, because I will thoroughly enjoy showing up and seeing them finished and displayed together – maybe especially more so because I can leave my work at home, forget about my shortcomings. Maybe after this weekend, I’ll be willing to try n b t f r and e.