How to: Add pleats to your knitting

We're back with our first tutorial video! This is about how to add pleats to your knitting. It was shot at the same time as my introduction to Theme and Variation that I posted a couple of weeks ago, so doesn't reflect any of the kind feedback we received. We will work those tweaks in when we do our next lot of filming in July! I do hope you'll enjoy the tutorial, and find it helpful.

Adding pleats to your knitting explained

The video covers the following areas:

What is a pleat?

Underlay, turnback and overlay.

Setting up your fabric to add structure to your pleat.

How to prepare the stitches for joining in the pleat.

Joining 3 sets of stitches.

Pleats are featured in Turmeric by Veera Välimäki and Manu by Kate Davies.

And finally, I am wearing my Knotted Kernel cowl, which is my own design (but includes no pleats!).

We'll be back tomorrow with a round-up from our Hapsarehappening Knitalong over on Ravelry, and we'll be awarding the first work in progress prizes, so get your project photos up in the group. There are some truly stunning projects in the making!

How to... keep track of your knitting or getting the most out of Ravelry

Over the last few years I have written a number of Masterclass articles for The Knitter (the UK knitting magazine where I worked as Technical Editor for 2 years). Once we are six months post-publication, I'm able to share the content wherever I like, so I thought it might be good to publish the articles over here on my blog. I really enjoyed my time on The Knitter, and its focus on more experienced and adventurous knitters has always made it the magazine I would buy. If you've not browsed a copy, then I would definitely recommend having a look!

As a confirmed Ravelry evangelist, it was a delight to write a pair of articles, back in early 2014, on getting the most out of my favourite website! Many readers will already be more than aware of the joys of Ravelry - but I hope there might be a few tricks even for you among the coming Masterclass articles...

Keeping Track of Your Knitting

As with many things in life, the more you put in with Ravelry, the more you can get out. Loading up some basic information about your projects, yarn and patterns enables you to start to access some of Ravelry’s plethora of amazing features. Ravelry is so much more than a place to find patterns.

1Projects page

One of the first ways that people use Ravelry is to track their projects. Use the My Notebook tab at the top of most pages to navigate to your Projects section (mine can be found at http://www.ravelry.com/projects/JenACKnitwear – to find your page, swap your username for mine in this link). Each project is a record of something you have knitted or crocheted, with space to record useful information like the size you are making, needle sizes, yarn used, the gauge you obtained and then a notes section where you can keep track of any changes you make to the pattern, or how you’re getting on. You would be amazed at how handy it is to be able to look back at what size you’re making, or what needle size you used for the first sock or mitten!

2Stash

As overwhelming as the task may be for some of us, it is fantastically helpful to have your stash catalogued on Ravelry (http://www.ravelry.com/people/JenACKnitwear/stash). You can link yarn in your stash to patterns that you hope to make in the future (organised in your queue), keep track of where a particular skein is stored (if you have more than a box or two of yarn), and even mark your yarn for sale or trade – giving you an audience of 6 million* fellow Ravellers. Your stash can be organised into yarn, fibre, all used up, for sale or trade, handspun and traded/sold/gifted sections.

3Library

The other section that is well worth populating is your Library, which is also found in the My Notebook section (http://www.ravelry.com/people/JenACKnitwear/new_library). Working through to add each item may seem taxing, but the time you can save afterwards is incredible. Once you’ve added your books, magazines and even kept track of single paper patterns and pdf downloads, you can then search just the patterns you have in your library. If you want to make a 4ply cardigan, a few mouse clicks can take you to a list of all of the 4ply cardigan patterns that you already own. No more flicking through hundreds of pages to find the colourwork mittens that you vaguely remember from a couple of seasons ago! There is an excellent guided tour of how to use your Library that you can find by clicking on the main Ravelry logo at the top left of most pages. Guided tips are then listed on the right hand side, underneath the Quick Search and Help, Help boxes (4 http://www.ravelry.com).

4Guided tips

Searching for Patterns

Ravelry not only lets you catalogue your patterns, but it also helps you to buy patterns directly from designers. If you go to the main Patterns page, using the green Patterns tab at the top of most Ravelry pages, you will see a number of helpful ways to sift through the many, many patterns listed on Ravelry. Not every pattern in the database is available from Ravelry, but many are. If you are only interested in patterns that you can download from Ravelry immediately, then use the “all patterns” link under Designers on Ravelry (http://www.ravelry.com/patterns/knitting).

5Patterns mainpage

There is also an option to search only the free patterns available to download via Ravelry. Alternatively you can search using the main pattern browser link at the top left of this main Patterns page. Once you are into the search pages, the world is really your oyster. You can narrow down your options using yarn weight, yardage, techniques used, type of item, language of the pattern and the list is huge. All of the filtering options are listed in categories down the left hand side of the page, and you can then organise your results using the Sort drop-down menu at the top of your results. I usually set this to “Most popular” or “Most projects”, unless it is a search that I perform regularly, where I might want to look at the newest designs only. Searching for a pattern available on Ravelry, for a DK weight, knitted garment, where I have at least some of the yarn in my stash, gives me 51 possible patterns!

6Advanced search

If you then want to tweak your search a bit, you can click on the yellow pencil icon to edit that part of the search. If I change my search to patterns I have in my library (rather than to download from Ravelry), and using any weight of yarn in my stash, I now have 185 options. Possibly I don’t need to buy any new patterns…

7A Advanced search in library

You don’t need a Ravelry account to purchase a pattern from a designer on Ravelry, but it is really worth setting one up. It doesn’t cost anything to open a Ravelry account, you just need an email address. If you buy a pattern once you are logged in to your account, then the pattern will automatically be stored in your Ravelry Library, which means that you can download a copy of your pattern from anywhere with internet access. You simply have to log in to your account and then look up the pattern in your Library – there it is ready to download and print out or to read directly from a tablet or smartphone. This is ideal if you have a mishap with your pattern while you are away from home. One of the many other benefits of purchasing a pattern via Ravelry download (whether as a guest or user) is that designers can issue pattern updates in the unfortunate situation of an error being found in a pattern, thus ensuring that you have the most up to date set of directions.

8Pattern prices

Patterns are listed for sale in many currencies, but an estimate is also given for the price in your own local currency. Payment is taken through PayPal which makes it easy to pay even small amounts in any currency, so don’t be put off by prices in dollars, euros or anything else. You don’t need a PayPal account either, you can simply pay with a credit or debit card without logging in to PayPal. Ravelry will also remind you if you try to buy a pattern that you already own in your Library – the buy now link won’t be visible, but instead a link to your Library appears (another good reason for logging in prior to your purchase).

9Pattern already in Library

Searching for Yarn

Ravelry’s yarn database contains a similar wealth of information to the pattern database. Yarn weights, yardage, fibre content and colourways are all listed for you to search by. This is invaluable when you are looking for a substitute yarn for something discontinued or not available nearby. You can easily find a long list of yarns with similar qualities. Although Ravelry doesn’t enable yarnies to sell to users in the same way as designers can sell patterns, there are local and online yarn buying options listed, where they are available (http://www.ravelry.com/yarns/library/rowan-kidsilk-haze-stripe).

10Yarn buying options

Yarn shops pay to be listed in these spots, so your closest yarn shop may not appear. Ravelry will also pick up if you already have that yarn in your stash, and list the colourways that you currently own (http://www.ravelry.com/yarns/library/fyberspates-scrumptious-4ply).

11Yarn already owned

You can also search for yarns that Ravellers have listed as available for sale or trade. To do this, you click on the “search stashes” link under the search box on the main Yarns page (http://www.ravelry.com/yarns).

12Search in stashes

You can then filter your search to find what you are looking for. I ran a search for blue-green 4ply yarns (not handspun, and having a photo so that I could see what was on offer) available for sale or trade in the UK (be aware you will need to list England, Scotland, Wales and Northern Ireland as well as United Kingdom to see all possible options since users have the choice of how to identify their country). This gave me 125 matches, and it took all of my willpower not to start clicking through and looking at prices!

13FSOT search results

Users should list the price they are asking for in the notes section of their stashed yarn, but if nothing is obvious, there is a “send message” link on each for sale or trade stash page, enabling you to ask for more information. Ravellers usually ask you to use the “send money” option on PayPal, and will give you an email address to pay. It is up to you to agree payment and terms with the user offering the yarn, and Ravelry takes no responsibility for these transactions. If you are unsure about a user, then a quick look at their posts, projects and general Ravelry presence may give you some useful information. People that sell yarn regularly through the destash groups and the stash pages will likely have replies saying that yarn was safely received and so on.

The best way to learn more about using Ravelry is to get online and have a go. Ravellers are a helpful bunch and there is usually someone to lend a hand if you get stuck. The next article will take you through the social side of Ravelry.

You can join our Ravelry group over here: Arnall-Culliford Knitwear

Do you have a favourite Ravelry top tip? Do leave a comment and share it with other readers.

*When the article was originally written, there were nearly 4 million Ravellers, but this is now up to more than 6 million! A growing audience!

All screenshots were correct when taken (December 2013 or April 2016), but yarns available and patterns may change, so be sure to look carefully at what you are selecting if you decide to purchase yarn or patterns online.

FO: Crofthoose Hat

I came back from Edinburgh Yarn Festival with a pile of goodies and lots of enthusiasm for new projects. I was so enthusiastic that I immediately went diving into my stash, hunting for yarn to knit up a Crofthoose Hat. This is Ella Gordon's new Shetland Wool Week design, and is available for free if you register on the Shetland Wool Week website.

I was faced with a yarn choice dilemma... Although I had a good range of suitable colours in my stash, I didn't have a full set of 5 suitable shades in the same yarn. Instead I needed to mix and match a bit. My choices included Jamieson & Smith 2ply Jumperweight, Excelana Luxury 4ply, Lang Yarns Jawoll and Kate Davies Designs Buachaille. An interesting mix of yarns, each with their own properties and qualities to bring to this lovely hat pattern.

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I eventually ruled out using Buachaille, since I wasn't sure I had enough Yaffle (green), and it's a thicker yarn than the others at a sport weight. I notice that another Raveller has made a lovely version entirely in Buachaille, so perhaps there's another Crofthoose in my future. Instead I went for two natural shades of J&S jumperweight, Saharan Sand and Cornflower Blue in Excelana and perhaps controversially (more on that in a bit) some green Lang Jawoll.

The knitting of this hat was a heap of fun. As ever with small motifs, there's a real drive to finish the next couple of rows, so that the line of houses appears. It's really hard to stop knitting designs like this! So much so, that I finished the hat after only 4 days of work. In my busy life that felt like some kind of small miracle!

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I'm so happy with how it has turned out! The little rows of houses are really appealing! Luckily (or not so luckily) it's still chilly and wet enough here that I can get some wear out of it before spring/summer fully kicks in.

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I love how the colours and patterning work together in the crown. Although if you're really eagle-eyed you will notice that I didn't do the final couple of shade changes as the rounds were so short I could face it. I don't think it damages the integrity of Ella's design too much! (Sorry Ella! I'll be less lazy next time... or maybe not...) The other small modification that I made was to move the start of the round for the second set of houses, so that the jog for the end of the round would happen between, rather than in the middle of a croft. Just a minor tweak.

So how did my unconventional choice of sock yarn for the green work out?

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Not too badly over all I think. It would definitely work better if the green were either J&S or Excelana, but in the absence of something more suitable and given I wanted to cast on immediately, I'm perfectly happy with it.

To explain the difference I've taken a close up shot of the 5 shades. My apologies that the palest J&S is out of focus, but this was my first play with a tripod and macro lens on my iPhone. It didn't turn out too badly really. :)

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From left to right the yarns are:
Jamieson & Smith Shetland Supreme 2ply Jumperweight in Black - 100% wool, yarn's construction is 2ply and it's woollen spun.
Excelana Luxury 4ply in Cornflower Blue - 100% wool, yarn's construction is 3ply and it's worsted spun.
Lang Jawoll in Grass Green - 75% wool, 25% nylon, yarn's construction is 4ply and it's worsted spun.
Excelana Luxury 4ply in Saharan Sand - 100% wool, yarn's construction is 3ply and it's worsted spun.
Jamieson & Smith Shetland Supreme 2ply Jumperweight in Gaulmogot - 100% wool, yarn's construction is 2ply and it's woollen spun.

There are 3 main factors at play in the suitability of these yarns for stranded colourwork.

  • Firstly the fibre content - wool is really well suited to colourwork as it has bounce and the stretchiness allows the yarns to work to a nice even tension. This is particularly evident after blocking, where the woollen stitches settle and lie beautifully flat and even. The nylon content of the Lang Jawoll is brilliant for making socks hardwearing, but it does remove some of the natural stretch of the wool. So you can perhaps see that the green stitches in the crofthoose above haven't evened out as much as their more woolly neighbours.
  • Secondly the yarn's construction - with increasing numbers of plies, the profile of the strand of yarn becomes more rounded and can be denser. This means that light reflects differently, and the general appearance of the stitches differs. For a more consistent look to the finished fabric, I should definitely have stuck with a single style of construction!
  • And thirdly, the spinning process used to create the yarn - a worsted spun yarn has all the fibres combed to lie parallel prior to spinning, which makes for a softer feel to the finished wool. It also means that fewer fibre ends poke out from the strand of yarn, and the yarn is denser. Woollen spun yarns are carded so that the fibres lie in a web, all pointing in different directions. This creates a more rustic but very light and airy yarn. The benefit of this to colourwork is that when a woollen spun yarn is blocked it will bloom and the fibres relax out further, almost hazing into each other. You can see fairly clearly in my photo above that the black J&S on the far left is hairier than its worsted spun Excelana neighbour.

I would definitely happily combine Excelana 4ply and J&S jumperweight in a project in future. Despite the difference in construction and spinning process, I found that they worked sympathetically together. In an ideal world I wouldn't mix in a sock yarn. Though who knows, if I'm bitten by that much of a knitting desire again, I may need to!

Many thanks again to Ella for the beautiful design. There are lots of lovely colourways appearing over on Ravelry so do be sure to check them out, and register with Shetland Wool Week to download your own copy of this lovely pattern. You can see all the technical details of my project over on my Ravelry page: JenACKnitwear's Crofthoose Hat.

Have you ever had a yarn combination disaster? Or have you winged it like me and gotten lucky? I'd love to hear about it in the comments.

Getting ready to knit a sushi roll

Well there's a weird post title, if you're not familiar with EasyKnits' beautiful sushi sock rolls...

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I've had this in my stash for what feels like forever, but for some reason I've not got around to knitting from it... And yes, there's what's stopped me right there: I know that you can knit straight from the end of the knitted panel, unravelling the panel as you go, but I also know that it would drive me crackers. I hate knitting with kinked yarn. It drives me bonkers.

So last weekend (or thereabouts) I finally got around to preparing it for knitting...

Sushi roll1

Finrstly I unravelled the panel and wound it onto my swift. It would have been best to wind it onto a niddy noddy, but I don't seem to have one any more, and my swift was already set up for another job. It worked.

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Then I soaked the kinky-noodle-like yarn in a bowl of warm water and Soak. I left them there for long enough for the fibres to really relax.

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Once the yarn was fully soaked, I gently squeezed out as much water as I could, without wringing it, and possibly stretching the yarn.

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And finally I hung the yarn up over the bath, weighted down by another clothes hanger. It's not perfect, and you can see in the picture that the yarn is still a little bit wibbly-wobbly, but it is WAY better than it was. If I was really bothered I could soak it again for a bit longer, but now that it's all wound up I am itching to cast on for some socks. I just need to decide on a pattern that will do these lovely hanks proud. Any suggestions?

Coronation Knits: The Short Row Files

Today's post follows quite nicely from the theme of Thursday's post: 'things I learnt from technical editing jobs'. I'm delighted to be taking part in the blog tour for one of latest projects I've worked on, Coronation Knits by Susan Crawford. Susan has kindly offered a copy of Coronation Knits as a prize to one lucky reader, so read to the end for details of how to enter the giveaway.

There are going to be lots of posts about the beautiful designs in the collection, and the influences behind them, so today I thought I would take the opportunity to talk a bit about short rows. Bear with me. If you've not yet come across short rows, fear not, I shall walk you through them. Short rows are exactly what the name suggests - rows (or rounds) where you don't knit all of the stitches. If you work half way through a row, turn and work back to the end, and then carry on as normal, you will have slightly more fabric on one side of your piece. You will also have an unsightly hole at the point where you turned. Short-row shaping is actually very simple - it lets you add more fabric in specific areas and thus can create 3-dimensional shape in your knitting. The trick involves closing up the holes that form when you turn.

© Susan Crawford, 2012

There are three designs in the book that feature short-row shaping: Lion and Unicorn (above), Blue Riband Hat and Retro Jubilee Socks (those are all Ravelry links).

The Lion and Unicorn jumper was my first love in the collection - it was the first design we worked on, and the elegance of its shape and design really appeals to me. The pattern is based on a design from the Special Coronation Edition of Stitchcraft magazine (1953), where the jumper is knitted in two pieces (front and back). The shoulders were shaped with a long series of cast-off rows, thus giving the original design a seam along the top of the shoulder and sleeves. When Susan started looking at updating the jumper (and adding all the additional sizes - the original is 1 size only), she decided that it would work really well knitted in one piece from front to back, with the shoulders shaped instead by short-rows, thus eliminating the seam. Susan isn't a designer who gets rid of seams willy-nilly - in fact, she's a great proponent of the benefit of seams to provide structure and good fit in garments - so when Susan gets rid of a seam, you know that there's an excellent reason for it! The smooth slope of the shoulders and sleeves is just so pleasing - a seam would really mess up that line in my humble opinion.

Lion and Unicorn uses probably the most common short-row turn method: wrap and turn (w&t). There are lots of tutorials for working wrap and turn short rows, so here are a couple to get you started:

Working the wrap and turn itself (a video from Knitting Help)
Knitting the wrap with a stitch (another video from Knitting Help)
Working the wrap and turn and knitting them together on following rows (a photo tutorial from Purl Bee)

© Susan Crawford, 2012

The stylish cloche hat, Blue Riband (above) also uses the wrap and turn technique - this time working in the round. Short-row shaping is used here to add extra length to the back portion of the hat (this same method is often used to add height to the back neck for yoked jumpers). The basic premise is exactly the same as above, it's just that you are working in the round, rather than flat. If you are finding that your wraps aren't completely concealed when you work back over them, try knitting the wrap and stitch together through the back loop.

Which brings us nicely to the Retro Jubilee Socks and the new thing I learnt. These socks feature a new-to-me technique for working the short rows in the heel - the slyo or slipped yarnover method. A quick search on Google revealed only a few references to this technique, and no proper tutorials (although I feel sure there must be some out there somewhere - do leave a link in the comments if you find one and I'll add it here), so I thought it might be handy to walk you through it.

© Susan Crawford

The cuff and leg of these socks are knitted in the round as normal, and in essence the heel is a standard short-row heel, it just uses a different method for closing the holes on turning. The following short video takes you through the process.

Tutorial for the slyo (slipped yarnover) heel turn used in the Retro Jubilee Socks by Susan Crawford. These are part of the Coronation Knits collection.

The next stop on the blog tour is Hélène Magnússon (The Icelandic Knitter) on Monday 18th June 2012. Make sure to stop by!

If you can't wait to get your hands on a copy of Coronation Knits you can purchase the collection in the following ways:

Print Book for £12.99 or eBook for £10 both available from Susan Crawford.

Susan has kindly donated a copy of Coronation Knits for one lucky reader (there are giveaways on many of the stops on this blog tour, so do check them all out - full details below). To enter the competition, please leave a comment on this blog post, and tell me what your favourite knitting technique is and why (comments not including this information will be excluded from the selection of the winner). One reader will then be chosen at random from the eligible comments on this post. The prize can be sent anywhere in the world. Only one entry per person please - duplicate entries will be deleted. Comments will close automatically exactly 1 week from publication of this post. All prizes will be sent out after the blog tour is complete at the end of July 2012.

Learning from designs: Weave Stitch Pattern

One of the perks of working as a technical editor is getting to see a range of patterns from a wide range of designers. I learn something new all the time, and I'm a complete learning junkie, so I love it! On Saturday I will be blogging as part of Susan Crawford's Coronation Knits blog tour, and I'll be sharing some of the things I learnt from working with her.

I particularly enjoy technical editing designs by Nick Atkinson. He has worked as a knitwear designer for many of the biggest fashion houses - Donna Karan, Gucci and Pringle, to name just a few! What I enjoy most about his designs is the way that he manipulates stitches. He's not "hampered" by a background in traditional written knitting patterns - he just picks up needles and yarn and sees what happens.

I had the pleasure of editing his Deauville design for Issue 45 of The Knitter, which features an unusual woven effect stitch pattern. It's very simple to work, but a couple of readers had been getting confused with how to do the crossing rows, so we decided that a video was the best way to explain. If you would like to get your hands on a copy of this design, then back issues of The Knitter can be purchased as a digital edition from Zinio or the Apple Newsstand.

Do watch the video, even if you don't want to knit this design - it is a REALLY clever stitch pattern. Simple, but super-effective - my favourite combination!

Tutorial for the Weave Stitch patter used in the Deauville jumper by Nick Atkinson. This jumper can be found in The Knitter, issue 45.

Many thanks to Jim for his wicked filming skillz!

See you on Saturday for Coronation Knits and more new things...