Ma grande passion, depuis l’enfance, c’est le dessin. J’ai toujours un carnet de croquis et des crayons à portée de main. Je peux passer plusieurs mois sans y toucher, mais j&rsqu…
this year I will learn how to knit
Two years ago I wrote a piece called The Scourge of Upside Down Knitting in which I raged unto the heavens against picture books where the artists put little work into bothering to figure out if knitting needles should be held up or down. Well, it’s time for me to apologize to those illustrators. If […]
An online archive of digitized knitting magazines lets you flip through pages looking for patterns and helpful articles, from 1800 to the present.
Awesome knitting patterns for animal softies from under the sea are here to help you enjoy summer even more!
Over the past month I have participated in a whirlwind of knitting and other creative activity, but I realize you certainly wouldn't know it from my lack of blog entries. I have been thinking about this particular post for quite some time, since quite a few of you have asked me about this topic. TechKnitter is my inspiration to learn how to make knitting illustrations. Any of you who read her blog will certainly understand. Since knitting illustration is its own unique beast, and there are not a lot of resources out there that specifically address how to learn this skill, I had to struggle through a lot of trial and error to get started (and as I continue learning, the trial & error continues). I'd like to share with you the key insights I've learned so far, in hopes that it will help get you drawing! (Note: this is my own method; I don't know what TechKnitter does.) This tutorial assumes you have basic Illustrator skills. You should know how to use the pen, how to manage layers, colors, strokes & fills. You should also know how to use the Grid and the Smart Guides. If your Illustrator skills are more raw than this, I highly recommend the Classroom in a Book series, published by Adobe, to get you started. Before you start: Understand the topology of your fabric. Note which parts of the paths come to the front and go to the back, and note that this is different for knit stitches and purl stitches. You may notice that my drawing doesn't exactly look realistic. Compare with a photo I found on the Classic Elite Yarns website: Even though my illustrations don't necessarily reflect what you'd see in real life, I find that it's easier to explain knitting concepts when I open up the fabric and show the path of the yarn. This is just my own style -- your mileage may vary. :) For our tutorial, let's start with a single knit stitch. Step 1: Draw a stitch. NOTE: To see a larger image, just click on it! Using the pen tool, draw a single stitch. From the image above, you can see where I put the anchor points, and where I pulled the handles. Set a thick stroke width (in this case 10 pt) and no fill. Step 2: Copy and paste the stitch. Choose the Selection tool, select the black path, then copy and paste [ctrl-C]+ [ctrl-V] (or select these commands from the Edit menu). Position the new path directly above the first one. Change it to a different color, one that is clearly distinctive from the color of the first. Tip: Take note of what's happening in the Layers palette. As you add objects, they appear here. Step 3: Interlock the stitches. In order to represent a knit stitch, the black path will have to be in front of the red path in some places, and the red path will have to be in front of the black path in other places. Illustrator doesn't let you bring parts of a continuous path to the front and send other parts to the back. Try it and you'll see what I mean. So, you're going to do this by copying specific segments of the black path, and superimpose them on top of the red. 3.1 Add anchor points. Choose the Add Anchor Point tool from the tool palette (hold down the Pen tool to get the flyout menu) and add four new anchor points (A, B, C, and D) in the approximate positions labeled above. 3.2 Select the "leg" segments of the black path. Choose the Direct Selection tool and click on the black path between anchors A and B. Hold down the [shift] key and click on the black path between anchors C and D. (Note that the path segments will not turn yellow -- this is for illustration purposes only) 3.3 Copy these segments and paste them directly on top. Press [ctrl-C] to copy the selected path segments, then [ctrl-F] to paste directly on top of the black path. NOTE: It doesn't matter if you Paste In Front [ctrl-F] or Paste In Back [ctrl-B]. The important thing here is to NOT use Paste [ctrl-V], because if you do, your new segments will not be in the precise X-Y location that matches the black path, and it will be difficult to reposition them manually. 3.4 Group the new path segments. Press [ctrl-G] to group (or select this command from the right-click or Object menu). Although this step is optional here, it's a good habit to get into. Right after you paste them, all your new segments will be selected, so it's the perfect time to group them. Once you start making fabric with more stitches and rows, grouping your segments becomes crucial. Note that the new group is now visible in the Layers palette. All of the objects that make up this group (in this case just 2 path segments) are listed under that group. 3.5 Bring the new segment group in front of the red path. You can do this several ways: select the segment group and open the the R-click or Object menu (then Arrange --> Bring to Front), or simply click on the object in the Layers palette and drag it up above the red path. Take a moment to admire your work. You've just made your first interlocked stitches! Now, to make the texture of the fabric really pop, it's good to outline these paths you've drawn. Let's outline these paths in bright yellow. Step 4: Outline your paths. Note that before you start making your outlines, your Layers palette should contain three objects: a group, a red path, and a black path. In this step, you will create a copy of each object directly behind it, then change the stroke width and color of the duplicated object. Here's how: 4.1 Duplicate the black path. Select the black path, Copy it [ctrl-C] and Paste in Back [ctrl-B]. In the drawing space, it will look like nothing has happened, but in the layers palette you'll now see two black paths. The one at the very bottom of the list is the one you just created. 4.2 Change color and stroke of the duplicate path. Leaving the new path selected, increase its stroke thickness (I chose 14 point) and change the color to yellow. Take note of how the Layers palette automatically updates as you make changes to your objects. 4.2 Outline the red path. Select the red path, then repeat steps 4.1 and 4.2. 4.3 Outline the black path segments. Select the segment group, then repeat steps 4.1 and 4.2. Now, I know what you're thinking here: "yuck, I can see the edges of my path segments!" To hide these lines, select the black path segments (not the yellow ones) and open the Stroke palette... By default, your strokes end in butt caps. Make sure only the black path segments are selected, then click on Round Cap. ... and, voila! I'm sure this is enough information for now. Once you master this much, you'll be ready to draw fabric with more stitches and more rows. Stay tuned, that tutorial will come soon!
Ferdinand Hodler (Swiss painter, 1853-1918) Landschaft bei Caux mit aufsteigenden Wolken - 1917 Ferdinand Hodler (1853-1918) was born in Berne, the eldest of 6 children. By the time Hodler was 8, he had lost his father & 2 younger brothers to tuberculosis. His mother remarried but died of tuberculosis in 1867, when he was 14. Eventually the disease killed all of Hodler's remaining siblings, instilling in the artist a powerful consciousness of mortality. Ferdinand Hodler (Swiss painter, 1853-1918) Bildnis Madame de R. - 1898Before he was 10, Hodler received training in decorative painting from his stepfather, & was then sent to Thun to apprentice with a local painter, Ferdinand Sommer. Hodler's earliest works were conventional landscapes, which he sold in shops & to tourists. In 1871, at the age of 18, he traveled on foot to Geneva to start a career as a painter of landscapes, figures, & portraits.Ferdinand Hodler (Swiss painter, 1853-1918) Abendnebel am Thunersee - 1908As time passed, Hodler's work took on an expressionist aspect with strongly colored & geometrical figures. Landscapes were pared down to essentials, sometimes consisting of a jagged wedge of land between water & sky.Ferdinand Hodler (Swiss painter, 1853-1918) Portrait of a Woman 1907In 1908, he met Valentine Godé-Darel, who became his mistress. She was diagnosed with cancer in 1913, & the many hours Hodler spent by her bedside resulted in a remarkable series of paintings documenting her decline. Her death in January 1915, affected Hodler greatly. Ferdinand Hodler (Swiss painter, 1853-1918) Berggipfel am Morgen - c 1915In 1914, he condemned the German atrocities conducted using artillery at Rheims. In retaliation for this, German art museums excluded Hodler's work. Ferdinand Hodler (Swiss painter, 1853-1918) Bildnis Gertrud Müller - c 1912In his final years, Hodler occupied himself with a series of about 20 introspective self-portraits dating from 1916. By late 1917 his declining health led him to thoughts of suicide. He died on May 19, 1918 in Geneva. Ferdinand Hodler (Swiss painter, 1853-1918) Die Dents du Midi von Chesières aus - 1912Ferdinand Hodler (Swiss painter, 1853-1918) Artist's WifeFerdinand Hodler (Swiss painter, 1853-1918) Jungfrauenmassiv und Schwarzmönch - 1911 Ferdinand Hodler (Swiss painter, 1853-1918) Giulia Leonardi 1910 Ferdinand Hodler (Swiss painter, 1853-1918) Der Niesen - 1910Ferdinand Hodler (Swiss painter, 1853-1918) Ferdinand Hodler (Swiss painter, 1853-1918) Le Grand MuveranFerdinand Hodler (Swiss painter, 1853-1918) Giulia Leonardi 1910Ferdinand Hodler (Swiss painter, 1853-1918) Aufsteigender nebel über den Savoyer Alpen - 1917 Ferdinand Hodler (Swiss painter, 1853-1918) An Italian Woman Ferdinand Hodler (Swiss painter, 1853-1918) Die Dents du Midi von Caux aus - 1917Ferdinand Hodler (Swiss painter, 1853-1918) Madame Valentine Gode-Darel 1914
Familiarize yourself with some heady math concepts by way of soothing knitting and crocheting projects.
Knitting and crocheting are about the only needlecrafts that I did not pick up on. However, doing needlework beside the fire on a cold night (see the flakes in the window?) with my kitties driving me nuts is a great evening indeed!
Добрая белка вяжет соседям по лесу. Ссылка http://portfolios.risd.edu/gallery/5485813/Knickity-Knick-Knack
Copied from Clair Miller Hopkins in Pastel Journal
Need an idea for a costume? Here's an awesome idea from down under: Made and shared by Leonie aka crumpart. She has an Etsy shop!
Knitting for R.A.F. To beat the Germans you have to have the coolest scarves.
With Veteran’s Day/Remembrance Day happening this week, poppies are popping up everywhere. Check out my roundup of poppy knitting patterns if you’d like to make some of your own, and do…
TECHknitting blog is not about knitting rules, in fact quite the opposite--it's about knitter's choice. Yet if someone INSISTED that I HAD to state a rule, that rule would be to put a good sturdy seam across the shoulder tops and bind off the back of the neck of your knitted garment. The rule You see, the shoulder tops and neck back are the foundation of every sweater. Stated otherwise, unless you live on a space station without gravity, the point of greatest contact between you and your sweater is the shoulder seams and back of the neck, because the whole garment hangs from there. If the very top of the garment is yielding--if the neck back stretches out sideways and the shoulder seams are soft--then that garment will slip and slide from your shoulders and will never sit right. Exceptions to the rule Although I say a good sturdy seam is a rule, like all rules, there are exceptions and partial exceptions. Tight garments with negative ease cling to the body and so need not have a sturdy shoulder--in fact the ultimate negative ease garment--the tube top--has no shoulders at all. In a very tight negative-ease sweater, there is very little weight hanging from the shoulder because it clings, rather than drapes. Sleeveless garments and backless garments are held up with shoulder straps or perhaps even a tie and have no shoulders. These, too, are often quite tight garments, and their cling, coupled with the scanty amount of fabric means that there is no particular weight to drag the garment down. Raglan sleeve garments, strictly speaking, do not have a shoulder seam either--they instead rely on 4 yoke seams radiating from neck to underarm to take the weight so no shoulder seam is needed. However, even these should have their neck backs bound off. Yoke-style sweaters don't have seams, either. Instead, their construction has radiating columns of knitting extending out from the neck hole like a sunburst, and this arrangement helps distribute the weight to hang from the neck facing. These too require no shoulder seams, but their neck backs should be bound off, especially since the neck seam is the target for all the weight of this style garment. Yet, although there are four exceptions to the "shoulder seam" rule (and probably more I'm overlooking) these are the kinds of exceptions which "prove the rule," as the saying goes. In other words, these exceptions show that the shoulder seam rule doesn't apply only when some OTHER measure is taken as a substitute. So, there must either be a way of getting around the seam, such as the four exceptions above, or there must be a good sturdy seam. How the problem arises Turning back to the slipping and sliding problem--how does it arise? The back of the neck is too loose Possibly the most common way to end up with a slipping sliding sweater to modify the directions for the back of the neck so that a collar or hood grows right out of the neck-back stitches, without any seam at all. In other words, what generally happens is that the pattern does call for the shoulders and neck back to be bound off, and then the collar or hood stitches to be picked up THROUGH the bound off stitches. Many knitters, faced with a pattern like that, come up with what seems a clever short cut to avoid binding off, then picking up the exact same stitches. "I will simply avoid that seam," thinks the knitter "and simply keep knitting the collar or hood to grow right out of the neck-back stitches," and so goes their way rejoicing at the labor saved. The rejoicing stops, however, when the garment is put on and the neck back stretches and stretches, rather than remaining seated as it ought. Of course, sometimes the pattern itself is at fault for not specifying a bind off and pick up along the neck back, but you are now too clever to follow such instructions. Melissa has written in the comments, asking about garments worked from the top down. Starting these with a permanent cast on is something of a gamble, tension-wise. IMHO, the best way to start these garments is with a provisional waste yarn cast on (called COWYAK--cast on with waste yarn and knit). At the end, cast the garment OFF at the top edge. This allows you to adjust the tension (more than once, if needed) for the neck opening, before going on with the neck band, collar or hood. The neck hole is too big A boat collar (also called a slit-neck) is an example of a garment with a very large neck opening. These are lovely to show off the shoulder tops and collar bones of an Audrey Hepburn, but they can be the very devil to keep on straight, without having the garment slide off one shoulder or another. V-neck and scoop neck styles can suffer this also, especially when too many stitches are picked up around the neck opening, or when the neckband is not knit for enough rows (knit too shallow). The seam joining the shoulder tops is too soft Another common cause of slipping and sliding is when the knitter modifies the shoulder seams by succumbing to the temptation for pretty, and kitchener stitches (grafts) the shoulders tops together, rather than putting in a good sturdy seam. Kitchener stitch sure SEEMS like sewing--in fact, it is often done with a sewing needle. However, Kitchener stitching is actually KNITTING--the needle follows the path that a knitted row would take, and that is why it is so utterly invisible. Knitting is stretchy, and having knit fabric on the shoulder without a raglan seam or a yoke construction to take the weight results in a slipping slider that's hard to wear. Again, some patterns actually call for a grafted shoulder, but you are free to ignore such instructions and seam, instead. The garment construction is inherently slippy-slidy Now we come to a large category of knitting a slipping slider: when the construction of the garment is responsible for the problem. This category breaks down into (at least!!) five further subheads. Large sweater-coats When an entire sweater-coat is knit from heavy yarn, there is a real problem of keeping it seated at the neck and shoulders, regardless of any construction detail. The fact is, knitting stretches, even properly bound off and seamed knitting. In this case, we knitters must borrow from tailors, and use their techniques--there is a description of reinforcement with a ribbon, below. Drop shoulder sweaters Drop shoulder sweaters do HAVE shoulder seams, but no real shoulders. Stated otherwise, The "shoulder seams" are so long that they hang well off the shoulder. This, coupled with the bulk and weight of the sleeves themselves, drags the garment away from the wearer's neck on both sides. This is especially a problem when the garment is a cardigan, knit in heavy wool. Worn open, drop-shoulder cardigans tend to slide away. If combined with a soft neck back (collar knit right out of the neck back stitches, for example) the result can be nearly unwearable. Circle-knit garments This innovative garment construction technique is sort of like wearing a round tablecloth with arms inserted. The upside is a beautiful radiating pattern, often with a lovely circle motif centered on the wearer's back and lovely falls and folds of fabric cascading down the fronts. The downside is often no shoulder seam at all--the top edge of the tablecloth is flipped back for a collar, and the shoulder line is formed at the fold. This fold may prove to be very soft and yielding. Some patterns get around this by having the circle truncated at the shoulder line, and then a collar added afterwards, some have other work-arounds, but many of these circle-knit garments offer a pretty fair dose of the slipping-problem. Cuff-to-cuff garments Cuff-to-cuff garments are fun to knit and offer a truly organic method of getting vertical stripes in a hand knit garment without having to knit intarsia bobbin-work, or fair-isle color work. Yet, when a garment is knit cuff-to-cuff, there is nearly never a shoulder seam because the whole point of the garment is to knit it sideways, each row extending over the shoulder from one bottom edge to the other, then back again. The neck-back must be bound off--it is the fabric selvedge, shown in red below--so these garments aren't quite as loose as circle knit garments, yet nonetheless, cuff-to-cuff sweaters can offer a pretty high dose of slipping and sliding. Dolman (aka "batwing") sleeves Sometimes patterns are offered for garment with dolman sleeves, knit bottom-to-top, then grafted shut along the long sleeve-top seam and right along the shoulder too. Like the cuff-to-cuff, such a design usually offers at least some firmness along the shoulder line by having the back of the neck bound off, but can also suffer from sliding. Some solutions The simplest, most time-tested solution is either to create a sturdy seam at the shoulder PLUS bind off the neck back OR to knit a garment from the "exception" list such as yoked or raglan. Yet, this is no help if you've already knit a slipping slider, or if you simply adore a garment construction which inherently slips and slides. Slip stitch This is probably the easiest fix for an already-made sweater which wants to slip and slide off the shoulders. Run a line of non-stretching yarn across the top of the shoulders and the back of the neck. This is usually done with a crochet hook, applying the yarn in a slip stitch. Here is a TECHknitting post about crocheting for knitters, which includes information about how to work the slip stitch. TECHknitting blog has also covered slip stitching in the context of firming the stretchy edge of a garter stitch scarf, and the idea is identical here. Rather than traveling along the edge of the fabric, however, the slip stitch is worked across the back of the neck and the top of the shoulders. Below is an illustration showing a line of slip stitch worked across the interior of a knit fabric. There is nothing to stop you from running two or even more parallel lines of slip stitch if the garment requires--a large shawl collar rising directly out of a neck back, for example, or a circle knit garment with no other provision in the pattern for a shoulder seam. Slip stitch to tighten a loose neck back or a too-soft shoulder seam PS: the slip stitch trick works pretty well to tighten other loose parts too: sweater and mitten cuffs, loose and floppy bottom bands, hats too large and so on. Ribbon or fabric tape sewn into the shoulder seam Another traditional method, although now not much used, is to sew in a line of grosgrain ribbon or twill fabric tape along the shoulder seam. In a modern variation, the shoulder seam on garments made of commercially knit fabric is serged together with a narrow strip of fabric tape (sheer or twill) serged in along the seam also for a three-layer fabric sandwich. The ribbon/tape prevents stretching, helps distribute the stress and generally preserves the garment--we have quite old sweaters in our family which incorporate a ribbon and these have held up well over the years. Sewing grosgrain ribbon over a seam from the inside of the garment The stitch to use for sewing the ribbon or the tape along the shoulder top is the overcast stitch, worked in little tiny stitches all along both long edges of the ribbon, pushing the sewing needle through the plies (split the plies) of the yarn so that the stitches do not show on the outside. This is the method I would use to correct the droop and stretch of a garment previously grafted (rather than seamed) shut at the shoulder. This is also a good trick for a drop shoulder garment. A garment with a ribbon sewn along the shoulder seam is rock solid and will not slip. A large sweater-coat might even warrant the ribbon being sewn along the neck back too--and it might be wise to use a rather wide ribbon for this--perhaps as wide as 1 1/2 inches, or even more. A neck-back ribbon is located so it runs over the neck-bone (the large bone at the top of your spine / base of your neck) Making a too-large neck hole smaller by re-knitting the neck band If too many stitches were picked up around the neck opening, OR if the neck band was knit too high (too many rows/rounds) without sufficient decreases, the result is the same: A ruffling and loose neck band. This is tedious to fix, but hardly difficult: pull out (frog) the band and do it again, on fewer stitches or with more decreases. Another recipe for a too-large neck opening is when the neck band was knit too shallow (too few rows/rounds). The cure is easy: Take out the bind-off, and add a few more rows or rounds, remembering to add decreases when appropriate. This cure will surely work, regardless of the original size of the neck opening--you can work the neck band as high as needed: at the extreme, you can build the neck up into a mock turtleneck or even a full turtle neck--maybe not what you set out to make, but these neck styles are certainly not going let the garment slide around. Correcting a sliding boat collar (slit neck) For a slit neck which will not stay put, consider sewing in two little ribbons, one on each side of the neck. Alternatively, knit two short little straps and sew one in to the inside on either side of the neck. Where these ribbons or knit straps peek out at the shoulder, they will look like camisole straps. Either of these cures will surely cure "slide-itis" in your boat necks. A final point: seaming We'll end with a final point: just how DO you make sturdy non-stretching shoulder seams? IMHO, the three best ways are-- Slip stitch: first bind off each shoulder using the ordinary chain bind off, then slip stitch the shoulder seams shut from the inside (this is the same slip stitch as the "neat little edging," or the slip stitch illustrated above, only worked through both layers of fabric at the shoulder top). This information is also shown (illustrated through both layeres) in this post about crocheting for knitters. Back stitch: first bind off each shoulder using the ordinary chain bind off, then simply sew the shoulder seam shut from the inside using the back stitch and working through both layers of fabric at the shoulder top. Use a dull-pointed needle and work between the stitches, not through the plies. Use the three-needle bind off: for this trick, hold the live stitches for each shoulder together on their two needles, the front fabric face of each piece touching, then use a third needle to bind off through two stitches (one from the front needle, one from the back needle) at the same time. For further information, go to the illustrated post about three needle bind off. Good knitting--TK * * * This is fifth in a series on garment correction. The others in this series are: Part 1: My sweater is too wide Part 2: My sweater is too long, my sweater is too short Part 3:My sweater is too tight under the arms/at the bust/chest--the magic of gussets Part 4: My hat is too loose
the all well cardigan coat is a foundational sewing pattern for a simple and versatile layering piece that can fill any wardrobe hole you throw at it! this pattern is appropriate for beginners and advanced sewists and everyone in between, as it’s an opportunity to experiment and make choices as you sew to make a completely unique garment each time you pick up the pattern. the pattern comes with fully illustrated instructions and a free hacking guide (!!!) to help the creative juices keep flowing long after you’ve made the pattern once or twice or five or six times! bring your curiosity and your ideas to this pattern and we will walk with you all along the way! More information, pictures, and fabric requirements can be found on our website. (https://allwellworkshop.com/cardigan-coat) PATTERN SPECS: Six sizes (Bust Circumference 32-62" [81-157 cm}) with three length options and custom sleeve length. For more detailed size information, visit our website! Here's the link: https://allwellworkshop.com/cardigan-coat ALSO INCLUDES: The FREE (!!!) All Well Cardigan Coat Hacking Guide, an indispensable guide to making the All Well Cardigan Coat your very own every time. SEWING LEVEL: This pattern is appropriate for beginners, but will be fun for sewists of all levels to sew. PATTERN INCLUDES: - Print-at-home pdf pattern - Copy shop pattern - Instruction Booklet with illustrations. - Hacking Guide with illustrations, instructions, and tons of inspiration. PLEASE NOTE: This pattern is a digital download. It is not available in print. Once you have made your purchase, you will receive a link to download the print-at-home pattern pdf, copy shop pdf, and instructions pdf. Visit our Help + FAQ page (https://allwellworkshop.com/help-faq) or contact us at amy [!at] allwellworkshop.com or through Etsy if something goes wrong and you have trouble accessing any of the files. PRINTING YOUR PDF PATTERN: In the print settings, set the pattern to print at “Actual size” (or 100% scale). You can print your pattern on a wide-format printer or desktop printer—your purchase includes full-size and tiled versions. The copy shop file is A0 in width but takes up less height (33.1” x 24.7” / 84 cm x 63 cm)). You can print the tiled version on US Letter and A4 paper sizes. When printing at home, just print the first page, then check the test square with a ruler or measuring tape to make sure the pattern printed at the right size. If they’re correct, print the remaining pages and tape them together. For printing help, visit our Printing Help page on our website! (https://allwellworkshop.com/printing-help) This pattern was designed by Amy Bornman (www.amybornman.com) for All Well Workshop and produced in collaboration with Amelia Greenhall (www.ameliagreenhall.com). ©️ Amy Bornman, All Well Workshop. All rights reserved. Written permission is required to copy and/or distribute copies of this document, whether or not you profit from it. Photocopying, digitizing and all other copying to share this document is strictly prohibited. Help support the development of new All Well patterns by sharing the link to purchase with any friends who want to make a copy. Purchase of this pattern entitles you to make as many All Well Cardigan Coats as you like for your personal use, including to give as gifts. Please do not sell garments made using this pattern in any quantity.
With updated, revised, and new material throughout, 65 additional pages, and more than 1,600 photos and hand-drawn step-by-step illustrations, Vogue Knitting: The Ultimate Knitting Book, Completely Revised and Updated is surprisingly easy to navigate with thorough indexing and footnote cross-referencing. The library of cast-ons, increases, decreases, and bind-offs has been expanded with new essentials. Brioche, entrelac, double knitting, and mosaic knitting—former trends that are now favorite techniques—each have an in-depth section. Design and construction sections now include hats, mittens, socks, gloves, and more than 25 shawl shapes. New chapters on lace and cabling incorporate everything a knitter could possibly need to know. From beginners needing to learn the very basics to seasoned knitters needing a refresher on a complex technique, this is a guide that every knitter will cherish for years and years to come.
JMSQ "Copyright April © 2011 My neice Jessica Lane is due to have her 1st baby "Lane Andrew" in Aug. 2011, this pattern was created in honor of him... JMSQ The universal sign for Love is X's & O's, {Hugs & Kiss'es} We've all learned this when we were children. God has Blessed with with the Love of Crochet & Knitting, so I do use the X's & O's alot in my patterns, sharing the Love of God with those I Bless with my handwork. I hope you enjoy Blessing others with this Cozy Cuddly Set as well. ~~~~~~~~~~~~~ SPECIAL X Sts: skip next st, 1 dc in next st, 1 dc in stitch just skipped X st just made. Each X st takes 2 sts to complete FPHDC: Yo, insert hook from front to back and to front again around the vertical post (upright part) of next st, yo and draw yarn through, yo and complete hdc. BPHDC: Yo, reaching over top of piece and working on opposite side (right side) of work, insert hook from right to left around vertical post of next st, yo and draw yarn through, yo and complete hdc. ~~~~~~~~~~~~~ Baby Cuddle Sac I Hook Measures about 10" x 16" I used Redheart BabySoft yarn (CH2 does NOT count as 1st dc) Row 1: Ch 4, sl st to form a ring. Ch2, 12 dc in ring, sl st in top of first dc to join. (12 sts) Row 2: Ch 2, 2 dc in each st around, sl st in top of first dc to join. (24 sts) Row 3: Ch 2, *1 dc in next st , 2 dc in next st, *repeat around. Sl st to in top of first dc to join. (36 sts) Row 4: Ch 2, *dc in next 2 sts, 2 dc in next st * Repeat around. Sl st in top of dc to join. (48 sts) Row 5: Ch 2, *dc in next 3 sts, 2 dc in next st * Repeat around. Sl st in top of first dc to join. (60 Sts) Row 6: ch 2, skip next st, 1 dc in next st, 1 dc in st just missed (X st made), *1 X st around to last st, 1 dc in last st, join Row 7: Repeat row 6 Row 8-9: ch 2, 1 dc in each st around, join Row's 10, 11, 14, 15, 18, 19, 22, 23, 26, 27 : Repeat row 6 Row's 12, 13, 16, 17, 20, 21, 24, 25, : Repeat row 8 Row 28: ch 2, 1 hdc around, join & fasten off & tuck in tail ~~~~~~~~~~~~~~~~~ Cozy Hat Pattern: G Hook (CH2 does NOT count as 1st dc) Row 1: Ch 4, sl st to form a ring. Ch2, 12 dc in ring, sl st in top of first dc to join. (12 sts) Row 2: Ch 2, 2 dc in each st around, sl st in top of first dc to join. (24 sts) Row 3: Ch 2, *1 dc in next st, 2 dc in next st,* repeat from * around. Sl st to join. (36 sts) Row 4: Ch 2, *dc in next 2 sts, 2 dc in next st * Repeat from * around. (48 sts). Sl st in top of ch 2 to join. Row 5: Ch 2, *skip first st, 1 sc, 1 dc in next st, *Repeat around, join to top of ch 2 Row 6 - 9: Repeat round 5. Row 10: hdc in each st around, sl st in top of ch 2 Row 11: Ch 2, fphdc in next st, bphdc in next st. *Repeat around. Finish off and weave in all ends. ~~~~~~~~~~~~ Cozy Baby Mits: G Hook (CH2 does NOT count as 1st dc) Row 1: Ch 4, join to for ring, ch 2, 11 hdc in ring, join ch 2 Row 2: 2 hdc in each st around, join, ch 2 (22 sts) Row's 3-8: 1 hdc in each st around, join, ch 2 (22 sts) Row 9: *skip next st, 1 dc in next st, 1 dc in st just skipped, *Repeat 10 more times. Join, ch 2 (11 X stitches) Row 10: *sc in next st, ch 2, *Repeat aroound, join ^ fasten off, tuck in tails TIE's Make 2: Ch 60 and weave in and out of Row 9 ~~~~~~~~~~~~~~~~~ Cozy Baby Booties: Newborn to 3 month size H hook. Newborn G Hook Note: Beg ch 2 does not count as a st in this pattern. Bootie: Beginning at toe, ch 4, sl st in first ch to form ring. ROW 1 (Right Side): Working over tail of yarn, Ch 2, work 9 dc in ring, join with a sl st in first dc. Pull end of yarn tail to close up hole. 9 sts. Rnd 2: Ch 2, 2 dc in each st around, join with a sl st in first dc. 18 sts. Rnd's 3-5: ch 2, 1 dc in each st around Row 6: Ch 2,1 dc in each of next 15 sts. Do not work last 3 stitches. Rows 7-8: Ch 2, turn, dc in each st. 18 sts. Row 9: ch 1, join to top of row 6 with sl st, ch 2, work evenly 20 dc around top of bootie, join Row 10: ch 2, *1 fpdc in next st, 1 bpdc in next st, *Repeat around, join, **SEE NOTE AT BOTTOM... **NOTE: You can add an extra row of #10 to cuff, looks great and gives it the bootie a higher ankle covering cut 12" long tail for sewing up back of bootie Thread yarn down to back opening from cuff, gently whip st closed, fasten off and trim off excess yarn Optional: Tie'S: Ch 70, Weave tie through ROW 10 WITH "FPDC" BEING IN FRONT OF TIE , AND BPDC IN BACK OF TIE. around, tie in bow and tuck in tail's Repeat for second bootie.
My 'Say it loud I knit and I’m proud!' Illustration references the song 'Say it loud I'm Black and I'm proud" performed by James Brown and written with his bandleader Alfred "Pee Wee" Ellis in 1968. I have noticed that there are not many images of Black women knitting in…
Needlecraft - The Magazine of Home Arts," December 1930
Image de Normen Rockwell Motivée par la demande de mon fils pour une amie (Audrey) sur facebook, j’ai eu l’idée d’écrire ce message pour aider des mamans (ou tout autre adulte dan…
