Wednesday, October 27, 2021

Traveling in the time of Covid-19

Testing, testing, testing. 

Flight canceled. 

Flight delayed. 

Flight delayed, delayed again because of a thunderstorm.  

Connecting flight (missed twice) to Glasgow. 

Rented cars office.

Driving from Glasgow to Sterling. 

10 days in quarantine. 

Testing, testing, testing. 

While in quarantine - unpacking and moving furniture. 

Getting used to our new apartment. 

Finally free to go. 

Scotland. Stirling, shiny city on a hill. 

Why Scotland? Because there one can take a walk any day and any time without sweating and constantly drinking water to prevent dehydration.

There is no humidity and high temperatures during summer, and it is a perfect place to wear knitted clothes (albeit only briefly this year) in the fall.

Because it is a lovely country with lovely people where, strangely enough, I feel at home even though they have problems understanding me and I have problems understanding them.

Two years ago we bought a small flat/apartment in Stirling, Scotland. We became the actual owners of the apartment and got the keys to it two days before our flight back home. And then the pandemic struck and lock downs happened, and there were travel restrictions. We couldn't get back to Scotland for a year and a half. When we finally did, last June, we stayed in Scotland for four months.

Somehow I couldn't write any posts for this site while in Scotland. Things were happening. There were many walks and trips taken, books read, people and sites seen, yet somehow no time to sit quietly and process all that. 

I started posting videos and photos from Scotland to my Stories on Instagram, because some of my friends have never visited this country and most likely never will, and they asked for more details. I tried to film everything that I thought was worthy of filming. 

And I was knitting there, of course. Not as much as I do here, in Florida. For two reasons. The first and obvious one was the lack of time. The second reason was the yarn that I packed with me was mostly lace or fingering weight. It takes less space in a suitcase but it knits slowly on tiny needles.

I made 5 garments altogether in 4 months. Not too bad all things considering. Posted 4 of them on Ravelry

First I knit one more vest with Japanese/fully fashioned shoulders, in cotton this time.

I made it longer and bigger than my first vest. By the way, this last one turned out to be extremely useful in Scotland, I wore it a lot there, and got complimented on it numerous times (felt really flattered).

Then I knit a jacket for a one year old girl, daughter of a friend.

I used a pattern from an old Pingouin magazine without any changes.
This is the Pingouin magazine that I used
The yarn (one of my all times favorite) is Dream in Color Smooshy, repurposed from an old unworn adult cardigan. If I make this pattern again, I might knit ribbing instead of garter stitch for borders, but otherwise I wouldn't change anything because it is an excellent pattern. I'll definitely try more patterns from this magazine if one day I need to make more children's clothes.

I also made a short/cropped striped sweater from the leftover Rowan cotton glace. I wasn't extremely pleased with the end result - the sweater being smaller than I wanted. I took some pictures of it anyway but they got erased from my phone by mistake so now I cannot even show you my failure. Maybe it's for the best… Who wants to show off their failures?

Next, I knit this tiny pale pink polo neck which is also from an old Pingouin magazine.

I bought this pink Isager Tvinni yarn several years ago in a store on a whim, because it was on sale and because I liked the color. The pattern looked feminine and dainty, a good match for the yarn.

I picked the size 14-16 (4-6 sizes bigger than my normal size) thinking that it would give me enough room and look at least a little oversized. I forgot that fashionable clothes of the time were form fitting and tight.

My point is that I wish this sweater was a little bit bigger, at least in the shoulders. My shoulders are getting wider and wider from swimming, some clothes even don't fit me anymore. Yet, I am still not used to these changes in my body. I plan to knit this pattern again, in cotton, linen, or silk, with short sleeves, so I can wear it in Florida. It looks plain and simple, but I like how thoughtful the details are and how finished it looks.
The raglan decreases are done differently, so they are more visible and become an important part of the design.
I tweaked the button bands' construction in order to avoid a thick seam at its bottom. In the original pattern you just pick up additional stitches in the middle, and later fold both parts of the button band in half and sew on from inside to the front. I picked up the additional stitches from inside of the front stitches and knit them like I would knit in the round. 

The collar is knit with lots and lots of short rows, folded in half, and sewn on the inside.

This  is the last pattern in the magazine - # 80. Imagine that! 80 patterns in one magazine! Not all of them are difficult or fashionable from the modern point of view, but all of them are really well calculated, edited, and proofread.

And finally I made this sweater.

I didn't want to write the same thing two or three times, so I made a couple of posts on Instagram where I explained how I came up with this particular idea. And I copied the same text to the project page on Ravelry. My major problem was that I had very little yarn but stubbornly refused to abandon this project. 

I've always been saying that scarcity is the mother of creativity.

This is the original pattern that I used for the sweater.
The one in the middle. It is dark brown and difficult to see in details.
It is from the French version of Phildar 1984 (if you own a translated English version of this magazine, it is not there).

To finish it, I divided all the stitches of the front in two parts after ribbing and knit them separately, adding in the middle one stitch on each side for the seam.

The intarsia and fairisle parts have different tension, and I had to recalculate everything (many times) to make them look the same and fit with the monochromic back and sleeves. My first version of the collar was also wrong, and I had to unravel it and knit it again.

As the result of all these manipulations and unraveling, I hardly had time to wash and block the finished sweater before our departure from Stirling. When I was putting it on to go to the airport, it was still slightly wet. Most pictures (all the modeled ones) were taken in Florida. 

If you want more details, you can see them on Ravelry or IG.

As for what I saw and did in Scotland for four months, I'll tell you more about it next time.

Talk to you soon,


Sunday, June 13, 2021

Fair isle vs. intarsia

I just finished two projects with colorwork. One was knit using fair isle technique and the second one - using intarsia.

Since I worked on these projects almost simultaneously I was constantly comparing these two styles (and two sweaters). Here are my notes and thoughts.

Part 1

Let's start with the more difficult and time consuming project - my Nili Lotan knockoff. I began planning for this sweater a year ago when I found a copy of its colorwork pattern on Pinterest. Instantly, I decided that it would be a perfect project to use up as many ColourMart scraps as possible. Looking at the original sweater, I picked my colors.

I had to combine 4 threads of similarly looking laceweight yarns  because otherwise finishing this sweater would have taken ages, it would have been rather fragile and get holes after a couple of wearings. Since they were all bought as sets of leftovers I had no idea about the length of each ball. I could only hope that I had enough to finish the sweater (spoiler alert - I didn't!). 

I was using thin needles - 2 mm/US 0 (for the ribbing and same color stripes) and 2.5 mm/US 1.5 (for the fair isle parts) - because I wanted the fabric to be sturdy.

I based the sweater construction on a man's sweater pattern from an old Phildar - big and long, with wide sleeves. Yet, I wanted to change its neckline and collar. 

Originally, I wanted a zippered collar - again!  Now that I bought zippers in several colors, my hands are itching to add them everywhere. Pretty much  like when you have a hammer, everything looks like a nail. Then I saw a collar on another male pattern in a different Phildar and became instantly convinced that I needed to try it with this sweater.

And then I picked up 134 sts for the back…

What can I say? I love working with ColourMart yarns and this sweater wasn't an exception. However, small needles, long rows, and very slow progress were really depressing. I liked the color combination and the thickness of the fabric, but my hands would start to hurt after a little while, and I needed all my focus and concentration in order not to make a mistake. It wasn't a project that you could work on while watching TV or talking on Zoom. 

After finishing back and front, I noticed that my ball of black yarn almost vanished. Who would have thought that black was so much used in this pattern? Definitely, I didn't. And I needed black for the sleeves. So I went online and ordered some black yarn from Colourmart. 

I used the waiting time to finish the collar. It was knit separately using short rows and then sewn onto the neckline. 

Then, since I couldn't work on sleeves - too little black yarn was left, it was pretty obvious that I couldn't finish even one sleeve with it - I started another project (see Part 2). 

Yet, I kept feeling bad about abandoning my difficult but lovely sweater. After all, black is black, right? So, I dived into my bottomless stash and rooted out little balls and pieces of black yarns, all from ColourMart, but a bit different in color. And I used them all to finish the sleeves. The ordered yarn came when the sleeves were already blocked and drying. I bet you cannot see the difference. I can see it because I know about it but only with a very good light and up close. Vive ColourMart and their color compatibility!

This sweater took a year to plan and a month to make. It is soft but sturdy, warm, but light, with enough ease to accommodate a long sleeve shirt underneath. Each color is actually a mixture of colors and I like how they look.

 I was right to try a new collar shape - it is flattering and comfortable, not a boring tired crew neck. 

However, this project was supposed to be a huge stash buster and I ended up with more yarn (black) from ColouMart.

Part 2

My second colorwork project, the one I worked on in between, waiting for the yarn, was a colorblock jacket from the cover of  Keito Dama # 188 Winter 2020. I've already made one colorblock jacket from Keito Dama and it was a very pleasant experience. 

When I saw this design, I immediately thought about a bunch of Drops Alpaca yarn leftovers in several colors that were languishing in my stash forever. I got the magazine from Etsy and started playing with colors and gauges. The pattern is not for a fingerweight yarn. To get the required stitch gauge (19.5 sts in 10 cm) I had to use two threads of yarn together. My row gauge was still a bit different (23 instead of 24.5 rows in 10 cm)  but I thought that it was close enough.

I didn't have 7 colors of the same yarn required for this jacket, so I thought that I could use some other leftover yarn with close stitch gauge. However, when I started experimenting with gauge and colors, it dawned on me that if I wanted this cardigan to look good and professional, I had to use the same yarn. This is how I ended up ordering Garnstudio Drops Alpaca in 3 more colors. Again, this project was supposed to be a major stash buster! How ironic!

While waiting for the yarn, I drew a copy of the pattern from the magazine and colored different blocks in my chosen colors. I had to go through this process a couple of times to get the color combination that would suit me. My main colors were black, beige, dark and light blue, which is why I couldn't use the original color combination (that I love, by the way).

When I finally got the yarn (the wait was endless since it was mailed from England), everything went pretty quickly. 

I balled two threads of the same color together and started knitting.

While knitting intarsia I used to get little holes in places where colors are changed. Fortunately, in my previous experiment - this Colorblack cardigan - the yarn was extremely sticky and the holes were almost nonexistent. Drops Alpaca is also a very hairy and sticky yarn (which didn't stop it from constantly splitting up and separating under my needles while working with it).

I followed pattern directions for the body, just shortened the ribbing at the beginning, because my row gauge was smaller (20 rows instead of 22 as per pattern). 

The main attraction of this pattern is a tasteful, almost artistic distribution of colors. Mondrian comes to mind of course. Later I found several Mondrian inspired pictures with very lovely colors that might give you ideas for making your own colorblock - sweater or cardigan.

My only problem with this project were the sleeves. My arms are shorter than normal and usually I just shorten up my sleeves while working on them. I couldn't easily do it here because of the intarsia pattern that had to take a certain amount of rows. Not to mention that my row gauge was a bit smaller which meant if I followed the pattern without changes, my sleeves would have been much too long for me.

OK, I had to use my little grey sells and here is my solution. First, I shortened the ribbed cuff from 22 rows to 7. Next, I didn't change the needles from 3.25 mm/US 3 that I was using for the ribbing to 4.00 mm/US 6 for the main body, and knit both sleeves on 3.25 mm/US 3 needles. It gave me a bit thicker fabric (the difference is not noticeable after washing and blocking) and the exact length. No changes in the colorwork though!

The ribbed border on the front is knit separately and sewn in later. I used 4.00 mm/US 6 needles for all borders (pockets and front). And I made 4 not 6 buttonholes: I could find only 4 buttons that would satisfy my taste with this jacket, plus I was making vertical buttonholes that take up about 6 rows, so it was more than enough to hold the front parts together.

By the way, I learned how to make great vertical buttonholes without breaking yarn or using a second ball while making this pattern.

Maybe one day I'll explain it here - easy-peasy, but really cool looking!

Now, this cardigan took me only 2 weeks to make, if you don't count all the planning, swatching, and block coloring.

 I was really afraid that the colors would bleed in water so I kept them in a strong vinegar solution for a couple of hours before washing and blocking. I also washed them with hair conditioner to get rid of excessive hairiness  - it helped but not much. 

When a friend of mine saw me in this jacket for the first time, she couldn't help but saying: "This is not you!" 

Well, unlike the usual grey and mousy clothes, I made something bold and colorful. A statement. We'll see if I can wear it in real life (real life starts soon, stay tuned!).

Finale notes

Even though in both cases I got what I wanted - a fair isle sweater looking almost like its original and a colorblock cardigan that fits me like a glove - my major goal wasn't accomplished. My stash didn't get smaller. I had to order some additional yarn for both projects and now have to figure what to make out of the leftovers. Again!

Another common thread - it takes longer to plan for a project than actually making it. For me this planning part is the most interesting albeit the most frustrating. Lots of projects get abandoned at this stage. Yet, I am usually satisfied with the ones that survive this long "vetting" process. What about you? How much time do you put into planning comparing with the actual making of a garment? Does it help or maybe paralyze you instead of motivating? I know, this is individual, depends on our personal style and preferences. Still, I would love to have some statistics (I am deep into statistics now, don't know why!).

Saturday, June 12, 2021

Shoulder decreases (tutoial # 5)

Shoulder decreases in a garment knit from the bottom are a little tricky, because if you just follow directions as they are written, you might get shoulders looking like stair-steps.

Why is it bad? Because when you seam them together there would be ugly little holes right in the middle of your shoulders. And you don't want these holes.

You can use short rows to avoid this problem...

Or there is this method that can also work for the armhole or neckline decreases.

Step 1.

Make the first round of decreases as usual in knit and purl rows.

Step 2.

When finishing the purl row, purl two last stitches together.

Step 3.

Turn your work and start decreasing, including the stitch that you already decreased in the previous row in your count. For example, you need to decrease 5 stitches. You decrease 4 (one was already decreased in the previous row).

Step 4.

At the end of the knit row knit two stitches together.

Step 5.

Turn your work and continue decreasing, including the stitch decreased in the previous row in your count.

This way you won't have problems stitching shoulders together at the end of your work.

"Japanese" or fully-fashioned shoulder

"Japanese shoulder" construction means that the front shoulder parts are knit longer and back shoulder parts are knit shorter. They meet at the back. There is a series of unusually complicated decreases on the back that create a decorative welt. On the contrary, the front sides have increases to mimic the armhole shape. Overall, it looks like a machine-made product. And the most important part - the eventual fit is better than the usual shoulder construction.

I first found the pictures and descriptions of this kind of shoulder on Russian websites and really wanted to try my hand at making it.

Over the course of the last year I tried several new shoulder constructions. I made a cardigan with a shoulder like this:

And a sweater with a shoulder like this:

You can imagine how pleased I was when I discovered "Japanese shoulder" in the old Phildar magazines. Only it is called differently - fully-fashioned shoulder. This is a term for the construction and it is never translated into French. So, I figured, it must have come from England. At least to France. Maybe to Japan as well, who knows? 

Anyway, I decided to start with a vest. They are very much in vogue at the moment. And I can understand why - it's hard to find a more versatile item of clothing. I chose a vest from the cover of this old Phildar - N° 80 PHILDAR femme et homme printemps 1980 - in English.

I had about 1000 m of yarn from in a sandy beige shade that I picked for my experimental vest. Since I was working with tiny needles - US 0 (2.00 mm) - it took me a while to finish the front and back. 

Working with only stockinette stitch is hard not only because it is tedious and sleep inducing, but also because every irregularity or change of tension is visible. Fortunately, after washing and blocking, the yarn gave me a very neat and even fabric that looks almost like machine-made.

In the pattern the ribbed armhole borders and neckband are done separately, folded in two, and then sewn to the vest. I knit them separately but I didn't want to fold them so I made them shorter. 

When I started stitching a border to an armhole it looked so plain and boring that I really wanted at least a little splash of color to break the dullness of the overall impression. That is why I used some red yarn leftovers to mark the place where to stitch on the borders. And then I decided to use the same yarn for the actual sewing. My experimental armhole bands made me bold and daring. The neckband that I made from the same color yarn was forgotten and I started adding colors as I went while knitting around the neckline.

If you want to experiment, you must go to the end, right?

So this is my vest with fully-fashioned (aka "Japanese") shoulders.

I think that the final fit is good. Now I can't wait to start another one - I loved mixing up colors, it was the most fun part of the whole project.