Matching patterns across sweater body and sleeves


There is a resurgence of circular yokes on the runways and market at the moment. My previous post discussed some of the considerations in knitting them. For those not up to working that particular way, there are variation in carrying the patterns around the body in “continuous” lines.

If raglan shaping is used, angular lines are created where patterns meet. All knit is essentially vertical striping. Raglan shaping should match both front and back of sleeve, the wider the raglan shape, the less sharp the stripe intersection. Striping in a traditional cap sleeve creates designs that move horizontally across combined body and arm at rest.

When designing a sweater with a shaped sleeve cap, knit a sample of your stripe pattern. An online stripe generator can help visualize stripe formulas, color ways, etc. If knitting fair isle use row counts for FI pattern height for stripe placement. It is helpful to have a 1 row, 1 stitch graph to plot repeats out. It does not matter if the grid is square or rectangular, providing that vertical and horizontal numbers are based on your gauge. Draw a line from armhole point to armhole on both pattern and sleeve, and there is your match. Work stripe pattern up from armhole line for your cap,  down from line for sleeve repeats.

In my theoretical sweaters the sleeve’s wrist edge is technically below the armhole to waistline length, so stripes need to be plotted accordingly, from armhole down.  The same method is used if single motifs or other variations in striping are involved. For single motifs, if matching them in body and sleeve cap, begin by designing them so they fit in the cap’s crown. Place motif in body and sleeve on same line, and plan the remainder of the sweater calculating from the armhole as for stripes, basing placement on numbers of rows in each design segment.

A collection of references to visit online:
Ravellings on the knitted sleeve By Jenna Wilson
<http://knitty.com/ISSUEfall04/FEATfall04TBP.html>
<http://knitty.com/ISSUEwinter04/FEATwin04TBP.html>
<http://knitty.com/ISSUEwinter05/FEATwin05TBP.html>
math calculators for knitting
https://itunes.apple.com/us/app/knit-evenly-calculator/id370449748?mt=8
“magic formula” http://www.getknitting.com/ak_0603triangle.aspx
http://www.getknitting.com/ak_0603mfcalc.aspx#
http://www.getknitting.com/mk_0603frilled.aspx#

 

An ayab diary_WIP

I have always been interested in machine knitting hacks and began sharing information from the internet on the topic as early as 2013. I own the 910 Brother model, and when the ayab hack first became available, assembling electronic components was beyond my skill and interest. I have a good supply of mylars, but have always knit more complex fabrics on my E6000, which has the Croucher cable and switch box for download to and from a Windows laptop, using Wincrea .  I had known a preassembled kit for the 910 hack was in development from a trip to CA, which included a visit to the Bay Area Machine Knitting Guild  back in April 2016.  A recent post on Ravelry alerted me to the fact that Ayab was “alive and well”, and that an assembled kit is now available and on the market. The hardware kit developer , to purchase  , wiki , interface , install . My understanding is that the software is still being developed in Germany.
Online discussion groups:  Ravelry , Facebook.  My compiled list of online pattern generators, hacks, free KM manuals, and more: 5435

I have purchased a kit,  and will share my experiences with it as time passes. In addition to bypassing the mylar use, the idea of having software that will render  color separations that would normally have to be hand drawn for larger repeats than would be practical, or for complex fabrics, is an exciting one.

An artist whose work I admire, using the interface early on is Claire Williams , her tutorial  updated 2016 with DIY assembly of the original “kit”.

11/27/17 This punchcard was shared by someone trying to reproduce the implied fabric on their 910. It is intended to be used as a combination lace and weaving card, so on the punchcard machine 2 carriages would be locked on the belt. If even number of passes are made with each carriage, there is the issue of the card not advancing each time when the opposite carriage makes its first pass. So far I have not been able to get this repeat to work for me as drawn, to produce results anything even resembling the “finished swatch” published photo. It did work for me using the LC carriage for 3 passes, releasing it, and following it by 2 rows knit with the KC set to tuck in both directions, a very different fabric. If the LC  is released after an odd number of rows, then technically when the KC is first in use,  the right to left and back to right selection is not interrupted, it is moving in the direction the LC carriage would have moved, and the punchcard row is not repeated. First row with LC selects, second row transfers, selects next row. Third row transfers, selects every other needle for the first tuck row on the next pass of KC, and LC is released. The fabric then tucks for 2 rows as punched, on every other needle. The second tucked row is completed with KC on right. The first LC row has now been preselected, as the *LC heads back to right (1) it transfers the selected needles, selects them again, but since they are now already empty, nothing happens to any yarn, and the next row of transfers is selected (2). Second set of transfers is made to right (3) as first tuck row is preselected. LC is removed. KC tucks for 2 rows (4, 5), selecting first LC transfer row with the second pass.* Repeat. The marks on the left should indicate carriage movements for each carriage, but they are off as well in my version of the fabric. My final repeats were for use on the 910 with a mylar.

the pattern book swatch imagemy tuck swatch

Lace is a challenging enough fabric without adding weaving yarn floats, and definitely combining them requires a clear understanding of what the yarn is doing on the needle hooks as one progresses through the repeat. I will be starting a separate post reviewing card markings  in punchcard pattern books, and translating them for electronic use. For further information please see post on 589

12/17/17 I am brand new at using the system, my comments here are logging my personal experience and observation as I am learning a new tool, not intended as a guide. Please follow forums for advice from folks with more experience and knowledge.

The ayab interface from EMS is now up and running on my 910. The process was easy and straightforward in terms of hardware. Software install on the Mac is very slow initially, but the launcher operates quickly after that.  I am using the system connected to an iMac presently running OS 10.13.2. There initially were issues with port failure when attempting to use the program to download. No security warning was received when the driver download was completed, but rather, the image below, which I took at face value, so I did not immediately access the preferences security panel to make any changes thereIt took some sorting out with EMS support and finally accessing preferences security settings and “allowing” the install to solve the problem. Apparently there may be some change in message received within a half hour of the install. So, easy fix, check system preferences security settings regardless of pop up window even if lacking  familiar and obvious warnings such as

At present there is no cover available to fit over the kit and its wires, so the left hand side of the machine remains exposed. There is a row counter built into the software, but I tend to rely on the built in on the 910. Any DIY cover should take clearing the row counter and the knit leader trippers into consideration. There is some conversation about 3D printed ones, or even metal. Tiny detail: the kit comes with electrical zip ties to help secure the plastic shields on both sides of the board.  Clip the ends, and twist them so join sits either on top or under the interface, thus keeping them clear of KM parts, and, particularly, the belt drive on the left.

There are a series of beeps and flashes that indicate that the pattern row has indeed been downloaded and is ready to be knit. 910 mylar users are familiar with the sound coming from the reader as each row is scanned. Prior to using the Ayab system I was initially concerned about beeps for each row adding to machine operating noise, since I am familiar with the Passap screech and at one point was also with the Studio electronic version. The Ayab beeps are actually on the soft side, and background noise or inattention may actually lead one to miss the cues. LED flashes occur in pairs indicating the row is ready to knit as well. Again, any cover may hide the light or soften the beeps even more, making the cues available via the screen more essential.

The kit comes with a 3 ft. cable. I have rearranged placement of my machines to make using both the Croucher cable, switchbox, and wincrea on the Passap, and the Ayab system on my 910. My initial wish was for a longer cable, which is possible to use. That said, there are several knit from screen clues that if you are operating the machine any distance from the computer get lost and become hard to see, including indicators for row numbers and the pattern advancement lines on your motif.

So far I have small FI samples and DBJ  samples. Ran into a problem after 60+ rows of each with mis patterning occurring, but that may well have been operator error. I have used my 910 for production accessories, and was very familiar with a personal optimum speed. I believe I almost unconsciously with the initial samples, may have picked up speed and interfered with the accurate download of pattern rows. When I slowed down and was much more deliberate, waited for each flash and sound, a test got me to RC 110 with no issues before I quit for the day.

12/19/17 I am continuing to really appreciate the speed and ease for sampling pattern ideas. That said, I  have also again experienced selection issues varying from lost selection to repetition of the same pattern row indefinitely, frequently after more than 50 rows are knit, and in spite of increasing attention being paid to beeps and flashes. Short pauses also seem to put the software into time out mode. I have not done enough knitting to evaluate whether moving the carriage past both turn marks with any frequency prevents those selection issues. Support is responsive, with new tools come new learning curves for everyone involved.

There is a popping noise /clunk that I have now learned is routine and  “likely from the solenoids being engaged or disengaged, when they’re first powered up, or released at the end.” It is a noise I have never heard in standard 910 use. I usually power down equipment when not in use, and have been told “For the sake of longevity on the knitting machine, it’s probably better to err on the side of disconnecting the USB cable when you power down the machines.”

My present knitting efforts are to come up with some sort of variation of this fabric, published in an early Empisal Ribber Pattern Book, shared in a Facebook forum post.  I have used racking in a variety of experiments, but never traveling over a MB pattern as in this instance. There is now a dedicated post on topic 

12/22/17: settings given below are for first preselection row from right to left, not for left to right,  testing out the waters with the circular settings, using the repeat. Please check later posts for reviewed content 

I tried to go for “quilting, but think that may require switching levers on the ribber, so to start with, this was knit in an every needle rib, with ribber set to knit <—->, main bed set to slip —>, producing a fabric with very subtle pintucks, which may be more interesting in 2 colors
Quilting: KC slip <—, ribber slip —>

The pink and white swatch is  in “drop stitch lace”,  was also knit using the circular setting. Instructions for color separations for fabric, how tos, tools, tips and samples may be found in my posts on topic, with the same repeat used in http://alessandrina.com/2015/06/16/geometric-shapes-in-drop-stitch-lace-2-brother-km/ 

the image resulting from my own past color separation its purl side, turned sideways

Previous posts have covered manual color separations for fair isle, quilting 1, quilting2, and a summary of series on drop stitch lace.

One of the differences in using Ayab, is that knitting set up begins on the left, with first preselection row happening on the second carriage pass from right to left. This makes sense if the goal is to set up patterning for moving toward the color changer. Passap E6000 uses the SX/GX (2 Rows) for set up, with its color changer on the right. The knitter may set the carriages or locks for any chosen setting (knit for knit rows, slip if the extra 2 rows knit are not desired as part of the pattern, or those suggested by console or other instructions). In the original state 910, the starting side is of no consequence as long as one is outside the set line, and preselection happens on a first, single pass. The same is true of preselection in the punchcard, one may start on either side. In some fabrics such as slip stitch worked holding techniques, or if  the color changer is in use and making moves in even numbers of rows toward and away from it are required, starting side matters. The Ayab circular setting does the color separation for the fabrics above, but other cam and lever settings may need adjustment, based on sorting out what selected needles are doing when knitting starts. For the “quilted” swatch above the left part button on the KC, and the right one on the ribber were used. Sometimes the guide to color selection or cam settings, is whether the first square in the imported image for download is black or white. With the loss of the built in color reverse on a hacked machine, it is easy work when swatching and testing to color reverse the repeat by using invert, available in the color menu, providing the alternative repeat. In Gimp the grid color may be adjusted as well, if you choose to work in black and white as your starting palette. For the individual image, Image/ configure grid changes the preference for single use. 

12/23/17 The “quilted” fabric produced below is different than the one achieved by specifically designed color separations, the fabric has an interesting blister like effect, the knit areas have more horizontal texture. Because of limitations due to the eventual needle selection errors I am experiencing with the software, my swatches are limited in length or have interrupted patterns. My new repeat two of the “pockets” have beads dropped into them to highlight their location 

1/22/18 swatches with preselection from left, similar results for shapes that are shaped with single row increments in height. Double height, the fabric creates tiny pintucks, not blisters as can begin to be seen at top of swatch; KC slip <—, ribber slip —>;

shapes as seen in test swatchverifying presence of pockets 

12/25/17 my first try at lace: the LC is the one to select for transfers, the KC knits to complete the formation of stitches. Brother punchcards for lace usually begin with selection rows, end with 2 blank rows at their top. Using Ayab the repeats need to repeat across the width of the piece. One nice added feature is that when doing so, blank rows may be planned and left at both sides, creating a knit stitch border and eliminating the problem of paying attention as to whether end needles are selected or not, or what other measures to take. This fabric creates large eyelets, there will be 2 empty needles side by side for the duration. Some of the old pattern books referred to it as one of the “mock crochet” ones.

the resulting fabric, knit and purl sides

one more to try: a large diagonal eyelet lace combining lace and tuck 

12/28/17: tuck lace meets hand technique 

1/4/18 My Ayab software set up rows work this way: the first pass from left to right only gets the carriage to the right, selecting only first and last needle if change knob is set to KC I. The second pass from right to left preselects the first row of pattern. The third pass (from left to right), knits the first row of pattern, selects the second, and so on; subsequent selection is correct, no rows of the design are skipped. It has been pointed out to me that this may be a unique feature to mine, or one unreported by others. “First preselection row should occur on that first pass from left to right”. My posts on using the software are based on the first pattern row knitting from left to right, not right to left as would happen if the very first pass from left to right preselected for the first row of knit. At his point in time it is also not possible for the first preselection row to occur moving from right to left. This in turn needs adjustments if patterning needs to occur in 2 row sequences from the left ie. in knitting mosaics and mazes unless preselection happens from right to left,  a result of my version’s “quirk”. Since I also knit on an E6000 the first 2 rows feature to complete preselection for the first row of pattern is a familiar one, and from the beginning I assumed it was an intentional feature in the Ayab software as well. It actually solves the problem if the first selection row needs to happen toward the color changer. Fixed starting sides can be problematic depending on the type of fabric being knit.  Lots of options to explore.

1/7/18 Over the week end it appears my software has now begun pre selecting correctly on that first pass from left to right, so I will now be reviewing any instructions I have posted this past month in case settings need to be changed for anyone trying to execute the same fabrics, beginning with lace.

1/21/17 I have been reworking some of my previous posts to accommodate for the fact that Ayab preselects the first knit row only moving from right to left. After being contacted by a design school student in Europe with respect to creating specific designs in 2 color drop stitch using ayab, there is now a dedicated post on topic. Nothing has changed in terms of my having reliable and consistent patterning for any significant knit lengths using Ayab. In addition, the knit carriage movements in the 910 when using the software now behave like the Brother punchcard knit carriages. Any change in movement in the opposite direction or jiggling of the KC for any reason, can make the design advance pattern rows. This was never true for the unaltered 910 machines, which were wonderfully reliable if the knitting was interrupted, if carriage were moved outside the knit edges for any reason, did not need to clear end marks for any reason other than on the first row of knit, were able to preselect first row from either side, making patterns that required use of the color changer usable without design first row adjustments, and the list goes on. The Facebook group is an active one, and worth joining for anyone seeking more observations, advice, and inspiration.

Machine knitting yarns info

More of my class notes, assembled from various sourcesThese guidelines  were provided for knitting using Jaggerspun yarns. I have no affiliation with the company. I do still continue to use some of lines, and have a great appreciation for all their yarns. Their wool used to be the required fiber in my knit labs at RISD until students began to understand some of the basics in stitch construction. I have permission from the company to share content.

Some yardage references: 2/24 = approximately 5500 to 6700 yards per pound
3/15 = approximately 2650 yards per pound
2/15 = approximately 3670 yards per pound

A few more bits:
fixed length of yarn spun from a specified weight of the material
1’s 1 spinning
1’s Yorkshire woolen 256  yards per pound
1’s linen 300  yards per pound
1’s worsted 500-560  yards per pound  primary standard for wool and acrylic
1’s cotton 840  yards per pound
1’s    spun silk840 yards per pound
2’s mean that twice the above length of yarn was spun from one pound of raw material

yardage reference: the first number refers to the number of plies twisted together to form the yarn, the larger the second number, the thinner the spun strand; conversely the smaller the second number, the thicker the diameter of the strand
yardage may vary with plies depending on mill and country where yarn is spun
2/24  5500 to 6700 yards per pound
3/15  2650 yards per pound  (530)
2/15  3670 yards per pound   (489)

in cotton  the markings are reversed
3/2 Cotton 3 x 840 ÷ 2 = 1,260 yards/pound
20/2 Cotton 20 x 840 ÷ 2 = 8,400 yards/pound
one standard for hand knitting yarn: gauge is per inch, not for a 10 X 10 cm or 4 X 4 inch swatch
fingering = 5 or 6,  knits approximately at 8 sts/12  rows per inch
sport weight yarn = 3 or 4, knits approximately at 6 sts/8 rows per inch
worsted yarn = 2, knits approximately at 4 sts/ 6 rows per inch
3/15 machine knitting yarn: the second number by the first = 5, so this would knit at approximately the same gauge as fingering weight

stranding math
2 strands  2/24 = 4/24 = 6 = fingering weight
3 strands  2/24 = 6/24 = 4 = sport weight
4 strands  2/24 = 8/24 = 3 = heavy sport weight
5 strands  2/24 =10/24 = 2.4 = close to worsted
6 strands  2/24 =12/24 = 2 = worsted

for more information and convenient conversions  for use in machine knitting see http://www.cara4webshopping.com/freebies_for_fun/yarn_weights.htm

the American Craft Council standard yarn weight system  is included in their PDF on standards and guidelines for crochet and knitting http://media.craftyarncouncil.com/files/CYC_YS_s_and_g_rev2015_6.pdf

Return to circles, knit “pies”, miters and spirals 4

I  have gotten used to seeing charts for crochet in the round, and prefer charts to written instructions in knitting as well. My hand knitting has usually been project oriented in terms of experimentation or exploration. Reviewing information provided by both Zimmermann and Thomas in their early publications has led me to new appreciation and admiration for their efforts and for the knowledge made available to their readers, and not just in their time.

Looking at the additional medallions by Mary Thomas, I thought I would play with attempting to illustrate them, some in rounds rather than individual wedges lining up flat with blank or greyed out squares between them. The first example is my imagined square medallion (straight, geometric), p. 239 in my Dover edition 1972, and created in Excel. The work is begun on 8 stitches, divided evenly among 4 needles, knitting with a fifth. The cast on is equal to double the number of sides of the square geometric shape, 4. A hexagon would begin with 12 (6X2), an octagon with 16 (8X2). In this instance the increases are arranged at the beginning and end of stitches on every needle.  When compiling information on machine knitting, I generally swatch to proof ideas. I am not planning on making accompanying samples or swatches for these.

I knit primarily on the machine, and prefer hand knitting on long straight needles as opposed to rounds, so I find myself often referring to counts as rows rather than rounds. For square medallions cast on 8 stitches, divided on 4 needles, knitting with a fifth. In all patterns after cast on row is divided, first round is knit in back of all stitches to flatten them. Stitch counts after increases sorted high to low are helpful when knitting from the outside edge in, and in that instance they become decreases. For the square medallions they are shown in that order, with counts for many more rounds than those in the illustrations. Beginning with the pentagon, they reflect stitch counts from the start of each segment shown.
The windmill medallion (square, p. 240) instructions given: beginning on round 6 “M1 into the second stitch from the beginning and the third stitch from the end of each needle. Continue thus on all even rounds”

The maltese cross medallion (square, p. 240) lines up the M1 increases side by side, in the center of each wedge. Increases are grouped together at the center of each of 4 needles in use may also be grouped on either side of 2 center stitches they may also be grouped on either side of 2 center stitches In a square medallion (bias, swirl, pp. 241-242) increases are placed on only one side, at the beginning of each wedge. Yarn overs are used to create eyelets for more ease when attempting to keep the square flat, and the increase round is to be repeated “as required”. If double yarn overs are used, drop the second yarn over on the next round. They are made before the stitch. Single increases are to be made each round. Here are the wedge shapes side by sidearound a center core For a pentagonal medallion (pp. 242-43) cast on 10 stitches divided evenly, or as number of segments increase, work 2 sections or more on any one needle. For the swirl double yarn overs may be needed to keep the work flat. Thinner yarns may require additional knit rows between increases. Stitch counts For hexagonal medallions (p. 243) cast on 12  stitches, two sections are placed on each of three needles, knitting is done with a fourth. Each increase round will add 12 stitches; 2 or possibly even 3 rounds may be needed between each increase row to keep the shape flat. STS column reflects their number after increases have been made 
The hexagonal medallion swirl (p. 243) is shown using both M1 and YO increases. Here the rate of increase in rounds is slower than above (2 per needle as opposed to 4), so increase rounds are separated by only one row knitThe octagonal medallions (pp.244-245) are cast on 16 stitches, divided on 4 needles and knit with a fifth. To make a smaller center hole, 8 stitches may be cast on, doubled on the next round, and then divided. The first geometric medallion shows increases (4 per segment, 16 per round) in single rounds, requiring several knitting rounds between the increases. The second medallion uses more frequently (2 per segment, 8 per round), so single all knit rows separate roundsFor the octagonal medallion swirl  (p.245) directions are the same as for the hexagonal one, with a 4th segment providing extra sidesIf the perimeter or circumference of the shape to be knit are known, the process may be reversed from the edge in, with decreases replacing increases. The advantage to working from the center out is that adjustments i.e. extra knit rows between increases, changing increases to yarn over(s) for added ease or decoration, etc. may be made far more easily as the work grows. Considerations should be given to leans of M1 stitches so they point in opposite directions on alternating sides. Motif and pattern placement can only be planned after these building units have been sorted out.

Two online guides for increases in hand knitting and their results:
http://www.twistcollective.com/collection/index.php/component/content/article/35-features/1041-increasing-your-options
http://www.knitty.com/ISSUEwinter09/FEATwin09TT.php

another variation https://www.youtube.com/watch?v=yIy0LtyIH2s

Return to circles, knit “pies” 3

Elizabeth Zimmermann provided guidelines for circular shawls in her books and publications, including “Knitting Workshop”. For a basic pi shawl (p. 112, Schoolhouse Press, 1984) the assumption is that each section is twice as deep as the previous section and has twice as many stitches. Below CO row represents cast on stitches if the work is to begin from the center out, Column A the row count on which the increases take place, column B the number of rows knit just prior to increase row (A-1), and C the number of rows available for any planned repeat (A-2), thse are constants. The columns directly below each cast on (CO) number (orange) counts represent the number of stitches when increases are complete. The stitch count doubles when the number of rounds has doubled.Mary Thomas’s Book of Knitting Patterns, Dover 1972, p.p. 245-247 provides guidelines for circular medallions. She calls her first a “disc” medallion. In executing it the aim is to scatter increases so they are less visible and do not form spokes. Four stitches are cast on, with 4 stitches increased in the total count every other row. The number of stitches between M1s increases by one on every other row. My chart happens to read from left to right. As with any knitting in the round, the process may be reversed, starting at the circumference and moving toward center. I personally like charts to help visualize results, and have revised her counts in the illustration below so increases are at the same rate, but placed a bit differently within the rows. On rows with even numbers between decreases, start row with half that number of knit stitches before the first increase. Because one is knitting in the round, with knit side facing, all rows are knit. If the work were knit on 2 needles, knitting every row would produce garter stitch.what happens if increases “line up”For her circular “radiant” medallion after the first 2 rows increases are made every 4th round. My chart is renumbered excluding the first 2 rows, so the increase rounds would occur on numbers divisible by 4, making it easier for tracking them. Each “building” round increases the number of stitches by 16.

In her “target” circular medallion, the building increases are arranged in concentric circles. Each increase row begins with a M1. Once RC 20 is reached, a stitch is added between increases on each increase round. This chart reflects the knitting progress, but not the shape. STS column on right reflects the total number of stitches after increases have been made. Each building round after RC 6 increases the count by 32. Formulas for more, varied geometry based medallions are also offered in the book.  I finally “discovered” actually using formulas in Excel! The video that clearly and quickly helped me learn how to: https://www.youtube.com/watch?v=QFVkSnGgZZclooking at the flow in table form for the first 2 medallions

These formulas do not take into account changes in gauge, or stitch type within bands. For similar shapes to be achieved in machine knitting, the number of transfers would be prohibitive. In order to achieve similar shapes one begins with the radius of the finished circle and the shapes in the family may be knit sideways, using holding.

Handknitters can work with 4 double pointed needles, one or 2 (or more) circular needles, and crocheters can follow similar shaping methods. The advantage to long circulars is less bunching up as the work grows, and if you like working flat or want to try the garment on while shaping it, you can use more than one long needle, making the piece or the try on manageable. Working from the top down when knitting such shapes may give one more control over the size of the finished piece i.e.. on length of body and sleeves, height between bands, extending a yoke into a shoulderette or cape. Stitch pattern size and repeats add to the math calculations. Garter stitch is the only hand knit stitch that approaches a square gauge, could be used in combination with patterned bands.

The charted patterns above rely on M1 to increases. Yarn overs may be used for decorative holes at increase points. If preferred, the hole may be diminished by twisting the stitch when picking it up on the next round.

When knitting in stripes, the “jog” at the color change in knitting can be eliminated by slipping the old color purl-wise, and starting to knit the second stitch. TECHknitting provides more alternatives in her posts: http://techknitting.blogspot.com/2007/01/jogless-stripes.html
http://techknitting.blogspot.com/2011/03/jogless-stripes-pretty-picture-version.html. For a method using yarn ends and a needle when yarn is cut http://imgur.com/a/NREsH.

For shawl shapes and their geometry using YO increases, see the posts and publications by Holly Chayes.

To start it all from center out: I am used to doing the magic loop cast on with a crochet hook, and then moving on from there, Kitty Falol shows it worked with DPNs.

Return to circles, knit “pies” 2 (round yokes and more)

Just as other knitwear styles have varied in style, ease and fit over the years, round yoke sweaters have also done so. Yokes can be wide or narrow, in patterned or textured stitches, and in varied proximity to the neckline. This is not generally a tailored style. Ease in knits can be calculated on the basis of fashion or personal preference. With some familiarity with slopers measurements may however, be adjusted in this style as in any other sweater. Neckline measurements do not reflect the measurements achieved after adding finishes i.e. turtle or round. Depending on the size of the yoke, shaping can begin at the armhole level bind off (seen in the early hand knitting directions in the 70s), while smaller yoke shaping can begin at whatever point is desired, extending to the neckline, or simply to create a design band. The shaping is created by decreases if the garment is knit from the bottom up, and with increases if worked from the top down. In most styles the same number of rows are worked from the armhole bind off or held section to where yoke sections meet. At that point if hand knitting on circulars the 4 sections: i.e. left sleeve, front yoke, right sleeve, and back yoke may be picked up and joined for completing the yoke. My illustrations have been created using Mac’s Pages lines and shapes.  They are not to scale.

Beginning to visualize process: yokes are generally superimposed on raglan shaping

they form part of a flat circle; here is how they might appear in a partially seamed cardigan without front bands. They may be created in varying widths or patterns,

and in a pull over with shaping in back that raises the rear neckline. Some of the early patterns were executed with front/ back and both sleeves sharing equal measurements and slopes

separate the elements: the yoke 

the front and back can be begin to consider shaping at breasts, waist, and those wedges under where the yoke “circle” meets the sweater may be short rowed on each side with the intent of achieving a much better personal fit

sleeve 

Hand knitters are probably familiar with Elizabeth Zimmermann and her daughter, Meg Swansen. Handknitting with Meg Swansen 1995, and Elizabeth Zimmermann’s Knitting workshop 1981, Knitting around 1989, Knitting without tears 1971 are classical references that include information on yoke creation, including these guidelines

Other authors suggest 1/4 of total body and sleeve measurement in stitches (excluding armhole) for a tighter neckline (turtle neck), one third for a more open style (crewneck). Original circumference/ body measurement should include any ease. Though decreases for the yoke: first halfway up 25%(one out of every 4), second 3/4 up 33% (one out of every 3), and last 1/2 inch before full depth is reached 40% (two out of every 5) are the most common, they can be placed and varied to suit your own design.

In drafting your own patterns and partnering with someone, a tape measure or string can be laid on shoulder line, etc. for an idea as to preferred placement and measurement. Necklines finished by bound off stitches whether machine or hand knit, do not stretch, so measuring your head with something that does not as well gives you a guideline. Yokes end in open stitches, so the thing to consider there is what method is used to finish the neckline, and its own stretch factor after bind off. Hand knitters have the added benefit of splitting the work on 2 circulars and trying on the sweater or its pieces on while in progress to double check fit.

Japanese designers began to publish patterns that often included yokes that were constructed on the top of the drop shoulder line, with the back yoke placed higher than on the front. Such yokes also began to be represented in stepped figures showing decreases. In the round calculations are gauge based, not relying on the pi formula.

modified raglan for higher placement of yoke on back of body

full pattern with traditional full cap sleeve

pieces meeting at dropped shoulder line: dotted line represents back collar placement, note difference in height between back panel on lower back, and front panel on lower right

a sample diagram from a Japanese magazine 

Yoke shaping may be indicated in stacked format. The final count and frequency of decreases is shown, publishers may vary in language. On the first row here 4 sts – 2X means there is a group of 4 stitches followed by a decrease 2 times, then 5 stitches followed by a decrease 23 times, etc.

Two online calculators are available to help with DIY:  1. the Yoke-U-Lator, and 2. for Lopi, Icelandic styles. The image below is a screenshot from the latter website, indicating a sample possible result.

Jessica Tromp offers free circular knitting patterns with round yoke, dimensions in inches and ounces.

There are endless possibilities for combining math formulas, gauge, and pi. There are many ways to do decreases. With planning so that much more frequent intervals happen between decrease rounds, the decreases themselves can be fabricated to line up in line, and the resulting texture creates the interest in the sweater as opposed to any color patterning (i.e. along white lines)

“pie wedges” may be placed on neckline, yokes, sweater parts, various silhouettes and garment pieces, or full shapes (red dots outline possible dolman sleeve)from a Japanese magazine a hint of detail that must be calculatedand the pie may be oriented in different locations on any one piece 

from a Japanese knitting magazine, an idea for long sleeve and side details merging with and becoming part of a circular yokeFor some of the math  calculations please see:  http://alessandrina.com/2011/06/18/oh-the-math

“Decreases” in rib sometimes can be achieved through changes in needle size if hand knitting, or tension changes on the machine. The yoke in machine knitting would need to be split in 2 parts or knit sideways. Plain colored rows between bands of FI may appear noticeably lighter in weight, so using a 1X1 one color FI pattern or double strand of one of the pattern colors may improve the look.

Before transferring stitches on the machine in the single color rows, make your transfers. The lace carriage may be used after selecting appropriate needles and putting them in position. Knit the following row before removing knitting on waste yarn or garter bar. If stitches are tight for garter bar use sometimes the row after transfers may be knit at a looser tension to facilitate the process, and the difference may not be noticeable when knitting at “normal tension” is resumed. The carriage should be set to plain knit for row prior to and after transfers. It may be easier to work toward the center from each side when returning stitches to the needle bed. In order to match the pattern at the shoulder seams or when motifs need to stack in position on separate bands, the stitches need to be rehung at specific positions on the needle bed that take into consideration the size of the repeat and its location within the stitch count. Also, take into account the seam allowance. One stitch extra on each of the meeting seam sides will allow the end needle selection stitch or an extra patterning needle to be hidden within a full stitch join. Working on machines that preselect needles or pushers makes tracking a bit easier. It is possible to combine knitting pieces in both directions. For example, knit yoke up toward neck, join shoulders, and then pick up appropriate stitches to knit body and sleeves from the top down. Top down makes any adjustments in length easier prior to finishing the sweater. Short rowing in garment segments underneath the yokes makes for a better fit at bust line and upper back.

Calculators to help with all that math: online
http://www.getknitting.com/ak_0603mfcalc.aspx
http://www.getknitting.com/ak_0601magicformula.aspx
http://www.getknitting.com/mk_0603frilled.aspx
http://www.thedietdiary.com/knittingfiend/tools/MagicFormulaSleeveTopDown.html
http://www.thedietdiary.com/knittingfiend/tools/MagicFormulaSleeve.html
http://www.thedietdiary.com/knittingfiend/tools/EvenlySpace.html
http://www.thedietdiary.com/knittingfiend/tools/IncreaseEvenlySpace.html
http://www.thedietdiary.com/knittingfiend/EZsweater/catalogSizeChart.html
http://www.thedietdiary.com/knittingfiend/tools/PieWedgeShawls.html
http://www.thedietdiary.com/knittingfiend/tools/PieWedgeShawls.html
http://www.eskimimimakes.com/knitulator-increase-decrease-knitting-calculator-eskimimi

for purchase:
https://itunes.apple.com/us/app/knitting-toolkit/id960312887?mt=8
https://itunes.apple.com/us/app/knit-evenly-calculator/id370449748?mt=8

Going low tech: if gauge works out to whole numbers, shapes can be plotted out on square grid graph graph paper (or grid created within software to suit) where each square represents one stitch, one row. Draw connecting lines, follow outline, filling in squares (or removing them) as the edge moves a whole unit (k2 tog). Here the goal is to go from 39 stitches to 5 over 60 rows. Color bands could be added and planned between decreases, which should occur on single color rows. Once a gauge is obtained, charting on graph paper or within programs can be boiled down to connecting dots and following outlines as above. Some simple breakdowns for outlines of garment pieces/ shapes 

more inspiration from an old Japanese magazine

visualizing a peplum 

Illusion DIY patterns in crochet

I previously posted on illusion knitting, and on one approach to designing simple patterns using the technique. The first 3 images below are of the swatch illustrating one of my hand knit patterns. 

Since I am now involved in a group interested chiefly in crochet, I got curious about executing the fabric in crochet. Part of the problem is that enough texture needs to be created to be able to read the “shadows”. I tried crocheting in different parts of the chain, around the posts in the row below, and ultimately went back to afghan stitch. I had not used the latter since making blankets first for my son, and then for my grandchildren.

the tunisian aka afghan stitch fabric as it looks head on tilted up to its side and its rear view

Those of you new to the technique can find some instruction at the Red Heart website , and in a beginning how to video from Crochetcrowd. I used Tunisian simple and Reverse Tunisian simple stitches to create my pattern. In this technique, chart texture rows are read right to left. The return rows are not illustrated. It takes 2 passes of color one, followed by 2 passes of color 2 to complete one pattern row. Yarn is carried up the side, color is changed in the same manner as in any crochet stitch. In my test swatch, no border stitches were planned for or included. It is always wise to test the repeat in repeat before working the fabric.

 two passes are needed with each color, so here is the repeat double length 

columns    A: color used   B: forward and backward pass for each color   C: number of passes to complete a single repeat. The highlighted box at bottom indicates a completed single design row. Only 2 colors are in use in the swatch. I found it easier to track my work and the edges where the textures need to meet by using an additional pair of colors in the chart itself. Rather than use the crochet terminology I marked my first stitches with F and B for each color, referencing the front/ forward, and rear/ back vertical loops/ posts respectively. As one moves across the row from right to left, when the color/ texture change is reached, the yarn is brought to the front or the back as needed, and the next color/ texture is worked in the reverse post/ loop.

working in back loop only of the starting chain produces a firmer edge at the bottom of the piece return pass every other row, not represented in chart changing color Front, vertical loop Back, vertical loopH: horizontal, V: vertical red indicates hook entrance through front, green for through back vertical bars respectively, prior to working the next stitch

Both swatches were made using similar weight yarns. The crochet version required more passes back and forth than in knitting, where the work may be turned over and the texture reversed on each knit row. The knit repeat measured approximately 5.5 inches L by approximately 4W, isolating my best guess stitch number equivalent to the crochet one. The crochet swatch measures 7 inches L by 6W.

Return to circles, knit and crochet “pies” 1

I began a series of posts on miters and spirals created on the knitting machine back in 2011. The oldest posts, 12, and 3 begin to address creating flat circles in machine knitting using holding techniques.

Hand knitting in circular format and crochet share some similarities. There are 2 methods of constructing circular work in crochet. 1: in rounds, (akin to knit miters in shape) where the end of each circular row is joined up to its own beginning to form a ring. A new starting chain (s) is formed to take the row up to the proper height for the next row to remain constant. Depending on the pattern, one has the option of continuing by turning the work or not at the end of each row. Doing so allows the opportunity of altering textures and working in the fronts or backs of stitches. 2: in spirals. Rather than joining the ring, one continues on by going into the tops of the posts in the previous row.

With spirals it is useful to mark the beginning of each round. Knitting markers shaped like safety pins are handy for that purpose. A line of contrasting color can also be created using a separate strand of yarn and alternating carrying it back or to the front prior to forming the first stitch in the new row.

As with knitting, crocheted circles are not true circles, but rather, they are polygons. The way to make shapes more circular is to scramble the increase points, putting them in different starting positions in each round (always spacing them equally and keeping the formula). Within limits one may make the starting number of stitches in the first round a multiple of the number of segments in the finished shape.

With the creation of a flat circle in mind, the number of stitches needed depends on the height of the stitch. The taller the stitch, the greater the number of stitches required. If the stitch stays the same throughout, the number of stitches added on each round is constant. Test work regularly at intervals as the work grows by placing it on a firm, flat surface, to see if working only one stitch into each stitch is required / enough at that point to maintain the shape. The more segments, the smoother the circumference.

Unlike in hand knitting, the first loop on the hook does not count as a stitch until you make it into something.

Spirals or miters knit on the machine begin with their radius; one possible construction method may be inferred from these images

Spreadsheet programs such as Excel and Numbers have pie charts and other tools that can help visualize or even plan the work with symbols. Unlike machine knitting, both crochet and hand knitting may begin and grow from the center out or from the outside in. Calculated shaping with increases or decreases along circumferences at different points on the pie create the desired shape. For the purposes of this discussion I will address stitches in US terms. There are various published guidelines with some variations. Fiber content and matching gauge (if required) may need editing of the numbers, but, as starting points:
Single Crochet [sc] : Start with 6 sc and increase 6 sc in each round so that the total stitch count in each round is a multiple of 6
Half Double Crochet [hdc] : multiple of 8
Double Crochet [dc] : Multiple of 12
Treble [tr]: multiple of 16

Some symbols and number of stitches required in base rows in table form, for working from center out:
the more wedges in the pie, the smoother the circumference no matter what the method. Single crochet is worked in 6 wedgesdouble crochet in 12 wedgeswedges may be reduced to simple line segments rounds may also be created to log in and track more details adding wedge outlines before filling in symbols

single crochet worked with slip stitch at the end of each row will produce  points similar to those seen in miters in machine knitting

spirals produce a rounder shape double crochet echoes the forms 

Building your own charts requires vector programs to allow for rotation of symbols around an axis. My chart was quickly produced in Inkscape, which is free to download for both Mac and PC users. Mac users in addition will also need to download XQuartz to run the program. I created the chart with my own symbols and freeform laid them down while viewing the grid. It turned out however, that there are 2 published videos on how to use the program for charting crochet stitches, part 1 and part 2 by StitchesNScraps.com

Two YouTube videos on topic:  using Illustrator CS 5.1, Marnie Mac Lean’s video, and using StitchWorksSoftware. An online generator by Stitch Fiddle, and its associated video.

if donuts are the goal: find your round 

An example: in single crochet, if round 3 had been completed, there would be 18 completed stitches. Chain 18, either slip stitch or continue in spiral to match count at that point. For round 4: increase every 4th, round 5: every fifth, round 6: every 6th, round 7: every 7th stitch.

A few sites to see for crochet tutorials:
magic ring start : no chain stitches, no center hole https://www.youtube.com/watch?v=sLUaywX0-WE
working in spirals
http://snovej.com/archives/freeform-crochet-spiral
a nice ending https://www.youtube.com/watch?v=W_sW4xX_O70https://www.youtube.com/watch?v=W_sW4xX_O70
https://www.youtube.com/watch?v=8L_rtWt78Jw&t=32s
crocheting a flat circle in single crochet: note the start “magic circle”
https://www.youtube.com/watch?v=8oDubbFVE3Y
https://www.youtube.com/watch?v=LZiCnCGP_NQ
changing colors https://www.youtube.com/watch?v=U8cLufFeenU

I tend to swatch in easy to see colors, “friendly” yarn, and use tools that allow moving in and out of stitches easily until I have techniques sorted out. When knitting circles in the round, things get a bit more complex, particularly if one begins to introduce items such as round yokes with patterns into garments where gauge matters significantly.

Some of the same principles may be used in hand knitting. For magic loop start with circular needles: KNITFreedom, and on DPs Webs yarn

A bit of holding 5: intarsia and more 2

So you have some shapes you love and know: wanting to go large, mixing them up, requires thinking things through. Testing on small swatches will help determine holding sequences and whether the results are predictable or even liked. I no longer have access to Adobe photoshop or illustrator, so some of my image editing is now achieved in gimp. Labeling below is with Skitch, and charting is with Excel.

A starting freehand swatch experiment and some observations: shape variations in red areas occur by altering sequence for knitting first and last 2 shapes in hold

tulip_knit

tulip_purl

Planning possible sequences out in charting can be confusing. The image direction will be reversed on the knit side. Approaching the technique like intarsia with individual yarns or bobbins eliminates the need for some of the concerns where 2 row sequences or specific starting sides are necessary to keep yarns continuous or for execution of the desired shape. Trying to imagine the shapes that create the larger one together in a simple 2D drawing can get one started, but  then shapes need to be rearranged. I usually began by “playing”, trying to figure out steps needed, and follow that by trying to produce an executable chart. Making the process as easy as possible to track is always a consideration.

screenshot_09possible stitch counts and adding a center line “stem”/ stripescreenshot_10its knitting sequence tulip_numbereda resulting swatch, stitch counts not consistent with chart
labeled_075

600_076

In the chart below the design is worked with 2 needles brought out to work or pushed back into work at any one time, making tracking changing numbers in hold unnecessary. Pink rows indicate starting and ending knit rows, orange “stitches” are cast on and bound off in turn, creating a shape extending out from the edge of the knit. Arrows indicate where shapes meet to create forms.

knittable_marked

Holding sequence for each shape may be worked begin with carriage on either side; with experience this may be planned at times to eliminate some of those cut yarn ends that later must be woven in. Getting back to arrows indicating carriage moves, using the center shape for illustration purposes and beginning with COR

directionif beginning with COL, simply flip the image horizontally direction flip

labelled_077600_078

The yarns used were “throw away acrylics” in white and red. The green is a rayon chenille, which required a looser tension, resulting in the other colors looser than I would want in a final fabric

idea for a larger image in the process of being editedscreenshot_07

A possible sequence in knitting if it is to be executed as shown. The arrow marks rows that knit all needles across the width of the piece. The piece segments are  numbered to create a starting line for later joining.
numbered1If the goal is knitting as close to a flat circle as possible, eliminating rows will create a smaller center hole as well after the form is completed and seamed. Knitting segments 1-6 should be adequatecircle2In larger pieces ie shawls, adding knit rows without adding stitches can be done by altering #8, 1, 6, 7. Red line indicates changing angles. Blue and green lines below indicate increasing rows knit at center of shapes as a result. exteded

Knitting and cast on sequences flow around left purl edge, straight or diagonal edges on a chart such as above may become foundation rows that are later seamed. Sort out your sequence and preferences on smaller swatches, keeping notes as you go. Additional shaping can happen along the edges of any plain knit rows between shapes by increasing or decreasing on either or both sides to create crescent shapes  or triangle variants.

Now a quandary if gauge matters: knit stitches are not square. One option is to generate a grid appropriate graph paper. In holding sequences happen in 2 row sequences. Graph paper cells may be created at twice the height desired. Each rectangle will represent a single stitch, 2 row sequence. To create your own knitting graph paper in excel please see post as a place to start. A common knit ratio is 4W X 6H. An editable workbook in 2W X 6H ratio that takes into account following outline in 2 row holding sequences: landscape2X6. Links for designing knit graph papers online:
http://www.tata-tatao.to/knit/matrix/e-index.html
http://www.theknittingsite.com/knitting-graph-paper/
http://sweaterscapes.com/lcharts3.htm
http://www.thedietdiary.com/knittingfiend/KnittersGraph.html
http://incompetech.com/graphpaper/asymmetric/

Using the 4X6 model reduced to 2X3 this is a sample generated using excel, with borders in a 2X6 ratio, so in execution, each single cell represents one stitch and 2 rows knit. The shape is one from the shape menu in the program, easily resized. The yellow bars show the gradations in holding. These cells are too small for adding text within the program itself. The math can be double checked: there are 70 stitches, 34 rows in the rectangle at the center of the shape. Holding happens over 5 chart units (10 rows actual knitting) at the top and bottom of the center shape; 70/5 = 14 X5, matching the drawing shape on grid

the accompanying, editable workbook Excel 2008  landscape2X6

So the goal is a shawl or garment, graph paper is becoming impractical to follow? Time to pull out your knit leader. Draw out each wedge or piece full size, number  segments breaking sections into knitting sequences, and let the KL guide you. For consistency, if the same shape is to be repeated many times and accuracy matters, it may be worth “air knitting” it while noting shaping as you go, keeping a row by row flow chart. An editable workbook to help track holding patterns, increases, decreases, etc. as a starting point for your own preferences: tracking knit.

Gauge or shape do not matter? time to scrumble it all and be surprised!

 

 

A bit of holding 4: intarsia and more

Picture knitting / intarsia may at times be achieved using holding techniques. As in any such knitting, supplies include extras such as bobbins, clothespins or weighted clips, but no separate carriage. If the ribber is in use and one is working on a large piece, ribber covers allow the yarns to hang in front of the ribber bed.

Some of the rules for accomplishing this using short rows: it is helpful to work from a chart. Two row sequences are required, so having the working chart double length makes the process easier to visualize. “Follow” knitting direction with any tool to determine that the pattern is executable, with no long floats or slits.

The bottom of any diagonal lines is always knit first.

Needles are brought out to hold on the carriage side, pushed back into work opposite the carriage; one exception to this rule is if “automatic wrapping” is used. In the latter one less needle is brought into hold than needed opposite the carriage, the row is knit, then with the carriage on the alternate side the first needle in hold next to stitches just knit is brought out to hold, resulting in a “wrap” and correcting the count to the desired number. Any number of needles may be pushed back into work at any time. More than single stitches brought to hold on the carriage side will produce floats.

When knitting shapes the only needles in work are those being worked to create that shape.

Base rows of knitting, whether in waste yarn or as part of the pattern, are needed prior to working in hold.

Remember that you are working on the purl side, so any image will be flipped horizontally on the knit side. Reverse chart horizontally before working it if direction matters.

Begin with a simple shape. Letters indicate knitting sequence for short row sections. Patterning in these charts begins with COR, bold lines separate areas of plain knitting, letters indicate order for executing short row segments. The fabric produced lies flat, with no noticeable 3D protrusions.

screenshot_08

screenshot_09

screenshot_07marking sequences with numbers is easier for me to follow; color changes help define segments, do not reflect final colors in design diamond_29

diamond_sequence

a super mini swatch: holes are typical both in intarsia and in short rows if no wrapping occursIMG_2439be prepared to weave in a lot of yarn endsIMG_2901going larger, note “steps” created when larger number of needle groups are used500_717stripes500_716more complex geometry:  line drawing on “graph paper”complex_30the start of color placement screenshot_01sequence for executing segments at completion of designcomplex_number_01in actual knitting the pattern must be elongated X2

I find it helpful to use familiar yarn and to work variations of a familiar shape prior to taking on more complex patterns. Below is a cousin of the first shape illustrated in this post, with pattern worked beginning COL, repeated across the row, increments in number of stitches worked in short rows, but mirrorred on both shape sides (shown in first swatch segment).

screenshot_01filling in to produce a flat fabric, with straight sides: bottom segmentscreenshot_02top segmentscreenshot_04the amended chartscreenshot_05

Some of the same shapes may be placed on a shaped edge. The repeat will likely need some editing; arrows indicate direction of knitting for that row. If the background color is used for casting on and binding off, then the isolated shape floats on the ground, and the horizontal line of contrast color is eliminated.

screenshot_18edge 1creating an outline of shape with Color 1screenshot_23edge_21

horizontal rotation to achieve “leaf” shapescreenshot_05melding shapesno wrap_28don’t like wrapping? for smaller holes offset return to work position upper half of shape by one needle less at the start, added at endno wrap_28knitting direction leaf_25stacking shapes, with bound off stitchesstacking leaves

combo_2934

combo_2935

the yarn used is an acrylic, so pressing helps to make the shapes lie flat. Once again, using wool or any other yarn with “memory” will result in considerable curl at side ant top and bottom of knit piece, so that is a consideration in putting in the effort. The more striping, the more yarn ends to weave in and row counts to watch. Using space dyed or sock yarns may produce pleasing though unplanned stripe patterns in any of the shapes. My samples are not resolved final fabrics. There are many inspiring patterns available for purchase or at times free on the internet for hand knitting, usually in garter stitch as well as holding, resulting in a nearly square gauge, flat lying knit.

Taking it to garments: accessories are easiest, since gauge may not be significant. Shawl shapes in HK are often knit on circular needles, without the constraint of the fixed number of needles on any particular model KM. Sometimes, with adjustments, the same shapes may be rotated sideways on the KM. Segment sizes may differ due to the resulting change in gauge. Sampling techniques and shapes in smaller versions helps work out the kinks.

Sources for inspiration: large scale shapes

http://www.garnstudio.com/pattern.php?id=7365&cid=17
http://www.garnstudio.com/pattern.php?id=7543&cid=17
http://www.garnstudio.com/pattern.php?id=7375&cid=17
http://www.garnstudio.com/pattern.php?id=7099&cid=17
http://www.garnstudio.com/pattern.php?id=6729&cid=17
http://www.garnstudio.com/pattern.php?id=6333&cid=17
http://www.garnstudio.com/pattern.php?id=6001&cid=17

more details, varying concentration and placement

free pattern
http://www.garnstudio.com/pattern.php?id=7606&cid=17

for purchase on ravelry
http://www.ravelry.com/patterns/library/endless-rainbow
http://www.ravelry.com/patterns/library/rigoles
http://www.ravelry.com/patterns/library/dreambird-kal
http://www.ravelry.com/patterns/library/scarf-with-flames
http://www.ravelry.com/patterns/library/phoenix-wing—phoenix-flugel
http://www.ravelry.com/patterns/library/spring-plumage
http://www.ravelry.com/patterns/library/hundertwasser-neptunia
http://www.ravelry.com/patterns/library/swingtrelac