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on the right side of the
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even be changed whilst

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Contents

March 1993
EDITOR
Carol Chambers
61 Daffodil Court,
Ty-Cano!, Cwmbran,
Gwent NP44 5JG.
Tel: 0633 871586
FASHION CD-ORDINATOR
Jackie Demuth
GRAPHIC DESIGNER
Richard Blunt
ARTIST
Dave Browning
PHOTOGRAPHY
Martin Palmer
Dave Singleton
PRODUCTION MANAGER
David Davis
PUBLISHER
Gerald J. Fox
ADVERTISEMENT MANAGER
Maggie Michaelis

Knitter's Country

Maxi-Motifs

a delightful day out for knitters and

their families

exclusive Zodiac sign patterns

and knitting techniques from
Thelma Vintner

4
Yarn Know How
the story behind our yarns told by
Terry Mason

6
Step by Step
to a perfect buttonhole

10
Focus on Buttons

11
From Wood to Wool!
a profile of Betty Barnden

Machine Knit Today

is published monthly by
Litharne Ltd, PO Box 9
Stratford-upon-Avon
Warwickshire CV37 8RS
Advertisements: 081-807 1185
Administration/Accounts/
Subscriptions:
(0789) 720604
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American Distributor
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Tel: (513) 922 7433
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Other enquiries to:
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Tel: (012) 664 1087
ISSN 0968-4638 (UK)
ISSN 1019-7508 (S.A.)

15
Master Class
Betty Abbott's 'Sampler' sweaters
illustrate the benefits of pattern
planning on the PPD

24
Computing for Knitters

39
The Garter Carriage
make the most of it with a little help
from Elaine Cater

42
Punchcards with a Plus
Teddy Bear's picnic from
Sylvia Howse

48
Chart it Yourself
Ruth Lee

52
Fashion Illustration
easy drawing on the computer from
Wendy Damon

62
Fabrics and Furnishings

Angela Gordon looks at the new features

in System 90 lntoshape version 3.05

this month Betty Barnden

illustrates hexagons with a throw
cover design

26

64

patterns
Lady's Long-line Classic
Blazer Cardigan and a stylish
Tunic from one simple pattern

20
Man's Jacquard Textured
Sweater for Passap/Pfaff Duo

23
Lady's Cable and
Fair Isle Suit

44
Competition

Machine Works

win a top of the range Toyota

sewing machine

Peter Free's trouble shooting spot

starts this month

27

Editor's Letter

Adapt-a-Pattern
getting the best from easy knitting

28

Man's Cable and

Fair Isle Sweater

46
Lady's Lace Cardigan two looks from one pattern
with a detachable collar

56

Books, Bytes and Stitches

Stitch Pattern Library

the latest books, stitch patterns and

software reviewed by Val Slater

pop art and geometrics, new stitch

patterns for all machines

Man's Fair Isle Sweater

18

31

61

Machine Kni !Oday publisted bylil!larr< LIO.ar<l prrto! byWlllia"n Gilmns & 5oro Ln Oistrituea byColraQ. T"'1god< Road, West Dra)1on. Mildx(l!llltllre Wost Ora)1on 444C?i5). Alt inl0rll\1liln, prl:es il1d patterns in misissue ol Madlire Knit Tocl!ylirle lteel1 carelullycra:t<ed bu!. wllitg
all the """1ial tes lteel1 written in good tail)\ the publisho' il1d h stat are lJllble Ill a:cept MfY responsibifites "'1at!oelor ar<l bywhosoeWrcaused. \l'hilg all care is- no responsili\'131 Ile im!Jlo! tor the s.ie retLrn ot 1l\11l.1Sats. designs, ganrents ar<l PtlJtographs de. Ally ra"5 etc. ..re
oorrect at the lirre a goirJJ to press. Cour reprodt.cti on a s as as p<inti'!I wil allow. This """1enl does not corotitute any iwt 01., o11
.. or contrn All advertis<ments corlained in maoaziro have lteel1 a:cepted on the tlld e<Slilldi tllal any deS<>iion o1 goods, services etc

areacaJlalear<l true. \l'hilg ,,.ry elfort isrrade to'"'"" Iha! inlorr111ton gi>en isrorrea ard re1iiille. no re51Xlf1Sibitly !31 be im!Jlo! bythe P<Jljlsher noranyperson In I emplo)lT1eflt nor any guaranee g1>en in the case ol MfY dispute or claim. Mi goodS or sel\'icesSuPPned underanyci Ille atver
tisements publishe<I are oot tf"e responsibllityot Madline Knl TO<lay. Wewill. -ver. lnwsUgateanyOJmpints. No r""1IVrl<fG!tion on the part olthe publisher lsto be lmplO<t. II lsalvisabll to rteck pr<esat the Urreol orderigoods etc. All rights reseried. No part olthlsmagazlre rray be repro
dtlced or utilised in MfY loon by any means. mect\11ir:al or ectroni irclll:li'!I ptl)IOCOP'!I. recordirJJ, or byany slorageand retrie1ol system. wiltllut tf"e prilr permiSsiln ol lhe publisher. lilharre lid Olpyright 4:> 1993.

A day out for the club or

the family- there is

something to delight
everyone at
Coldharbour Mill
.

r;1

Coldharbour Mill is a working wool

when falling trade forced its clo

museum, based at Uffculme, Cul

sure. Happily, the Coldharbour

lompton, Devon - with unex

Mill Trust was formed shortly after

pected delights for all the family.

the closure to save the mill build

Expecting to spend only an hour

ings, machinery and power sources.

or so on my visit, especially having

my spouse 'in tow' (his tolerance

THE WORK AT THE MILL

limit on knitting interests is pretty

high- but there are limits!) to our

The personnel I met at the mill

surprise and delight four or so hours

on-going restoration and renova

were very enthusiastic about the

later we reluctantly tore ourselves

tion work. Much of the work has

away- or we would have missed

been done by interested volunteers

an evening appointment!

FROM VIEWS TO
HOME BAKING
Set in beautiful countryside, the
site itself is one to linger in, espe
cially in good weather. In fact, I
wish I could have this page pro
duced with sound as wherever one
went around the buildings the

and the enthusiasm and commit

ment of all I met there, bode well
for its progress. Much of the mill
is now open to the public and we
joined the tour with a mixed group
of adults and children. Our guide
was delightful. He had the knack
of explaining all the processes and
machinery so that everyone under
stood and - by virtue of samples

sound of bird song and running

of combings and spinnings -

water seemed to follow! In cooler

became 'involved' in the work being

weather, the view from the small

restaurant overlooking the water
and wild life, would also tempt
you to linger (quite apart from the
delicious home cooking available!).

IN HISTORICAL CONTEXT
Coldharbour Mill is possibly situ
ated on the site of one of two mills
at Uffculme which were recorded
in the Domesday Book. There was
probably a paper mill on the site
in 1707 and in 1753 a great flood
caused major damage to the mill
and it was rebuilt sometime after
wards. In 1788, it was advertised
in Trewman's Exeter Flying Post
thus- 'To Let, Grist Mills at Cold
harbour Mills, Uffculme, lately
built entirely new, with a very large
head of water'. One of the Fox
brothers bought the mill and
expanded it, producing 'Long Ells'
- lengths of fine white, heavily
fulled serge-which was exported
very successfully to the Colonies

done. The children were fascinated,

the menfolk asked questions about
the machinery and covers were
taken off or different sections
demonstrated so that the full works
could be clearly shown. As wool
spinning was the whole raison
d'etre, and the properties of the
fibre were explained, together with
its possible variations and how the
end results were affected - then
all aspects of interest were more
than amply catered for. Some of
the machinery is extremely old,
but amazingly versatile for all that.
More restoration on the spinning
machinery, steam engines and
power machinery is still going on,
so that there will be something new
to see on every visit. (I have to
return to find out what they have
done with the rather old, unla
belled, not yet restored knitting
machine I found awaiting its turn
in the comer).

..

IAN GAMMON, SPINNING TECHNICIAN, WITH THE SOFT COILS OF WORSTED WOOL ATTHE GILL
BOX; THE FIRST STAGE IN PRODUCING KNITTING YARN AT THE MILL

available to groups. Arrangements

they realised they were being edu

can be made to hire part of the

cated, they were having too much

buildings for special interest courses

fun! So, if you know a local school

that clubs wish to do, or classes on

which is looking for somewhere

topics such as wool dyeing can be

organised for parties (well in

different to take the children -

advance please). Jill is more than

give them the details (and don't

forget to volunteer as a helper to

happy that their facilities be used

reserve your seat on the coach!).

by all sorts of groups, so if you want

Before we took our leave, I

your club AGM to be rather sp

couldn't resist the mill shop. Filled

cial - then they have the room on

with wool and fabric spun or

a wonderful site with excellent

woven on the premises, plus spe

catering facilities. She would be

cial packs for knitters, some

more than happy to have a knit

designer work and gifts, it was a

ting club based there - so if you

great temptation.

are in the locality, why not inves

tigate the possibilities? They also

If you are looking for a day out for

encourage lots of special events

yourself, a club, or the family, then

throughout the year. There have

I can wholeheartedly recommend

been steam rallies, sheep shearing,

Coldharbour Mill - and I am

reliably informed that it is partic

SPECIAL INTERESTS
AND FACILITIES

Morris dancing and all sorts of spe

pany. So Fox brothers managed to

cial courses. Lots of events are orga

ularly lovely in the spring when it

stay in and expand upon the

Once the working mill tour was

nized for children, as Jill believes

is full of daffodils. For further

and China via the East India Com

woollen trade, which was starting

complete, we wandered around the

that education about our past and

details about any events, tours,

to die out in Devon by that time.

spinning and dyeing work-shops

how it relates to the present, plus

facilities or just a brochure, write

In fact, the family owned and oper

- set into the pretty row of

all the fascination of watching

to Coldharbour Mill, Working Wool

ated the mill until the early 1980s

cottage-style buildings alongside

something being made, is of great

Museum, Uffculme, Cullompton,

- by that time Coldharbour was

the mill. Jill Taylor, the director,

value to the young. Watching the

Devon EX15 3EE- or telephone

their worsted spinning annexe -

told me about some of the facilities

children on our tour, I don't think

0884 840960.
5

Terry Mason is well known

Fibres are the real raw materials of

for the straightforward

suitable for the various production

computer programs he
produces for designing
garments. However his
impressive qualifications -

textile fabric production and, to be

and end uses, they must have cer
tain properties, .For most fabric pro
duction purposes these fibres need
to be first twisted into yarns. The
aesthetic and functional proper
ties of any yam or fabric may be
modified by twisting, thickness,

BSc; AMCT (Associate of the

fabric structure etc. but their effects

Manchester College of

upon the fibre which was used in

Technology); ATI. C.Tex

(Associate of the Textile
Institute- an award
granted for demonstrating

in the ultimate fabric will depend

spinning the yarns.
There are many textile fibres in
use today and most can be woven.
Some are only suitable for making
cords or ropes but, most certainly,
not all are suitable for knitting,
especially on a 'domestic' knitting

knowledge in all aspects of

machine. Knitting involves bend

textile technology, plus

to form loops which must be pulled

appropriate experience in

ing those yarns into complex shapes

through one another by sliding over
metal needle surfaces. In other

the fields); CFE (a teaching

words the yarns must be very flex

qualification)- and

yarn and over metal surfaces, yet,

'interaction' with machine

ible. Yarn must slide easily over

at the same time, be held under
some form of control by metal

knitters in a variety of

guides and tensioners. The object

situations over the years,

completed garments, which give

means that he is wonder

fully equipped to explain the
textile and yarn properties
which are of most interest
to us

of knitting is to produce fabrics or

warmth, yet have 'easy stretch'. To
be comfortable and aesthetically
pleasing when fitting the human
form.
To summarise therefore the
requirements of all textile materi
als there are three basics:

FUNCTIONAL ASPECTS
This is probably self-evident. One
needs a coat, a jumper, a dress and
so on. You only have to look around
your home to see the very wide
range of materials which have been
knitted. It is not just clothing, but
curtains, dusters, dish cloths, cush
ion covers and so on.

AESTHETIC ASPECTS
These are the factors experienced
by the human senses. Perhaps the
most important are colour and
design, warmth, softness and the
general feeling of being 'just nice'.

appearance. Hand knitting yarns

we are always looking for a good

are much in this group. Then there

bargain, if we see something which

are 'Worsted Yarns' in which the

we like, then it is bought. It must

longer fibres are first combed out

be the aesthetic aspect which has

and carded into the same direction

the deciding 'pull' and, fortunately,

before being twisted together. Such

the home knitting machine allows

yarns are smoother, stronger, but

us to produce 'that special item'.

slightly stiffer and are used in suit

ings etc. but also in machine knit

MAIN FIBRES USED

WOOL
There is no argument that wool is
potentially the most desirable and
suitable yarn for knitting garments,
but it does have some disadvan
tages. Some people find that they
cannot wear wool next to their skin
and this is because most woollen
fibres are covered with small scales.
Secondly, it has a tendency to 'felt'
and this, again, is due to the sur

ting.
Even a yarn described as 'Wool'
is unlikely to be 100% pure wool
because of the cost. Other cheaper
fibres will have been mixed in,
sometimes in quite substantial pro
portions. Reclaimed wool obtained,
say, by breaking up old woven and
knitted garments may be used and
such reclaimed fibres are called
'Shoddy' - and you know what
that word has come to mean.

face scales causing the individual

KNITTING WITH WOOL

fibres to become entangled during

AB previously stated, wool will felt

wet processing. Some slight felt

and 'machine washable wools' can

ing is considered desirable as it

be made by applying a surface coat

tends to add softness and surface

ing to cover the scales - but it is

to a fabric. Wool is, of course, more

still wool. The more luxurious clas

expensive than most other fibres.

sic knits will use fine wools and

The word wool itself is not

then some felting will occur when

straightforward as there are many

they are washed - however care

different varieties of sheep and

fully. Commercial garments of this

'hairs' from different parts of the

nature will have been give a con

fleece vary widely. Some wools

trolled wash to bring this about

are very coarse and have large sur

and give that 'special' appeal. This

face scales making them only suit

able for carpets. Some are finer
with fewer scales (the finest being
merino) and are used in knitwear.

ECONOMIC ASPECTS

They are generally referred to as

There are indeed differences in

'Lambswool' or 'Botany Wools' and

what one may have to pay for the

the slightly coarser types referred

yarns and the fibres used in making

to as 'Shetland Wool'. Even coarser

them. This always has to be con

types are used in some traditional

sidered, especially if you wish to

items like 'Aran' and 'Harris'.

knit for others and for profit.

clothes! In today's society although

There are two methods of spin

does mean though that the gar

ments will come off your machine
rather lean. If you are knitting 'Qual
ity' garments you may wish to give
your jumpers a wash, but, in any
case, you should wash your ten
sion swatch and allow it to dry nat
urally before being satisfied that
your figures are correct.
This feature of changing appear
ance and stitches and rows is espe
cially applicable to 'Shetland Wool'
as they will open up on wetting.

One might ask which is the most

ning wool fibres into yarn arising

important. One feels that func

from the fact that the fibres may

tionality cannot be the only con

be very short or much longer.

sideration. If so, then people would

'Woollen Yarns' are from the short

not need so many drawers and

fibres which are not first combed

culties especially if one knits too

wardrobes in which to keep their

out straight, giving a loose, fluffy

quickly.

Being loose therefore on the

machine may give knitting diffi

MOHAIR, CASHMERE
AND VICUNA

can be used to make 'high bulk'

These are some of the other animal

good cover. As they do not absorb

fibres which one may meet, but,

as they are not strong enough to be
spun alone, they are generally
blended with wool and/or other
fibres. Cashmere and Vicuna are
quite expensive but are noted for
their 'silkiness' and add softness
and lustre to the fabrics. Mohair,
which is from goats, is better known
and is used to give a 'hairy surface'
which can be very attractive when
brushed.

yarns which will have softness and

any moisture one should not expect
the knitting problems sometimes
found with woollen yarns. They

ALL GOOD WISHES TO THE NEW MAGAZINE

FROM

La Qiviere

do, however, have one big prob

TAILORED DUST COVERS

lem in that they are heat sensitive.

made in polyurethane coated nylon

for all makes of machine. Example
of standard Brother with ribber.

High bulk yarns are made by blend

ing stretched with non-stretched
fibres before spinning and then
heating the yarns under controlled

BLOCKING CLOTHS

conditions, when the stretched

heavy duty cotton drill. In inches

35"x54" or centimetres 90x140cm.

fibres will relax causing the high

bulk to develop. If the fabric is
exposed to more warmth at a later

KNITTING MOHAIR
Because of its nature, yarns con
taining this fibre are not the easi
est to knit. The loose hairs become
entangled around the carriage
brushes, tension mast adjustment
knobs and the sinker plates. Every
one has their own theory and prac
tice to deal with the problem and
some say to leave it in the fridge
for a few hours. My own personal
preference is to rewind the cone
over the side of a wax candle and
then keep pulling the work down
every few rows.

elasticity will disappear, leaving

All acrylic garments must only

be washed in warm water and if

ironing is required, use a cool iron
when narly dry.

T-shirts and so on, but using fine

Navy canvas, strong handles and

velcro-fastened pockets to hold
weights, etc. Also Knitleader bags,
and long plain bags to hold BOND with

gauge machines - a little differ

extensions attached.

Cotton has been used for a very

long time for hosiery, underwear,

ent from the domestic ones we use.

garment being very soft and

Write or telephone for details.

absorbent and is very cheap but

67 Bartholomew Road, London NW5 2AH

has little crease recovery. Some

Telephone 071-267 2712

amount of moisture, even though

home knitters, but because cotton

containing a fair amount of mois

yarns, it can have limited use. How

or knitted, the moisture content of

the air is kept at a high level to
assist this.

cannot be used to make bulky

ever, with the increase in varia
tions coming on to the domestic
knitting market, it is worthwhile
experimenting with.

wool wrapped in cellophane they

NYLON, RAYON, ACETATE

AND POLYESTER

will have retained their factory

Again, although these are used

moisture content and knit well.

extensively in commercial knitted

When you buy cones or balls of

BINDING WIRES

It is an ideal fibre for this type of

cotton yarns are being offered to

ture will be softer and knit better.

RIBBER CARRYING BAGS

COTTON

All animal fibres contain a fair

In mills where the yarns are spun

No floor space? Hang on wall, side

of wardrobe or top of the stairs.
Holds 12 cones and measures 5' drop
- add more brackets if you have
space. Large S-hooks also available
- great for caravans too.

a very poor fabric indeed.

YARNS AND ATMOSPHERIC

MOISTURE

the ball or cone may feel dry. Yarns

THE CONE LADDER

date, then that bulk, resilience and

This EXCLUSIVE KNIT KIT is

for Knitmaster or Silver Reed 24st
punchcard/electronic machines
with ribber, YC6 colour changer+
Rn carriage.
Also for Brother 24st

:';. ,:tl:-,f)Yt,,(!1
"\(:;
\(ID:.:
\

However, after a few hours in our

fabrics, yarns composed entirely

punchcard/electronic machines
with KR850 ribber+ double bed

modern, centrally heated rooms

of them will have limited use on

colour changer 900KRC.

they will tend to dry out. This is

domestic knitting machines, but

3 coloured Jacquard using

CHRISTIANA BRAEMAR
20% WOOL YARN KNIT

why the next time you come to knit

they may be found in blends with

from that cone, it may not knit so

wool, particularly as they are

easily. In this case you should rub

cheaper. Nylon and polyester may

the top, bottom and sides of the

be added to improve wear and

cone with a wax candle to give

crease recovery, Acetate to add

some extra lubrication.

Wool wound into balls is invari
ably oiled for hand knitting and
should be waxed and re-wound
before use as the drying out effect
will be even more noticeable because
of the smaller amount of yarn.

ACRYLICS

grey and bullrush

ning 'fancy' yarns.

surface features in contrast to stan

dard yarns. This will include

To give this group of fibres their

Boucles, Knops, Slubs, Chenilles,

full name, it is 'Polyacrylonitrile'

Marls, Space Dyed etc. Their

and is probably the main type used

number is growing all the time and

in day to day knitting. Acrylics

doing much to help the knitters

have become very successful as

bring variety to their creations. As

wool substitutes in knitwear, being

they are often produced by com

quite cheap to manufacture they

bining a number of other yarns,

'

1t"ll!:I

KIT + PATIERN
Colour I - Cream, seagull

These can probably be described

..,. ,...,.
......
._ ....
..,.

ONLY 23.50 + 2.00 p&p.

lustre and rayon for cheapness.

as yarns with irregular or special

They are extensively used in spin

FANCY YARNS

or
Colour 2

Navy, powder

blue and omega blue.

Send cheque for 25.50 to

(stating colour choice)

CHRISTIANA WOOLS
Whitton View, Leintwardine, Craven Arms,
Shropshire SY7 OLS
Tel: 05473 340
The above accessories available by MAIL ORDER

which have had to be spun first,

when you are nearing the end of a

yam for good stitch clarity. Two

they are naturally more expensive.

raglan shaping and you may then

ply yarns are not to be recom

yarns, but certainly the idea of knit

find a change of appearance.

mended for stocking stitch as they

ting these on alternate needles may

will 'ribbon' across the needles and

not give you a good fabric.

Because of the basic special

appearance, they can produce the
design idea in a garment when used

YARN THICKNESS

alone, whereas standard yarns are

Knitters have for so long - and

of course, deal with the thicker

Because the actual thickness, or,

not give quality stitches.

It is also a fallacy that a knitting

as the industry uses, the 'count' is

more often used in mixed colour

still do-talked about 2 ply, 3ply,

machine with a certain gauge can

not stated on your cones, you can

-such as Fair Isle and in special

4 ply or used words like double

knit yarns of all thicknesses and

only try them and adjust your ten

stitch structures. Probably the most

knitting-all of which are mean

one could write a whole article

sion whenever you can. On this

useful item in the machine knit

ingless.

upon the reason for this-but the

thorny question of tension in a knit

ter's work box is the number one

card and tuck stitch.

Two ply, 3 ply etc. refer to the

mathematics would probably bore

ted structure with a certain yam,

number of strands which have been

you! Those of you who are also

there is only one mathematical rela

tionship between the stitches and

The simplest and most widely

twisted together to make the final

hand knitters will have a box full

used yarns of this type are likely

knitting yam and these individual

of needles of different sizes to select

rows when the fabric has relaxed

to be those which have two or more

strands can vary considerably. How

from and use. The gauge of the

-which it will certainly do. If you

colours twisted together, these are

often have you seen a 3 ply yarn

'standard' knitting machine was

are knitting a yam and after you

called 'Marls' and can be quite

with the special instruction 'Knit

chosen to be about equivalent to

have allowed the fabric to relax,

effective. What one must not do

as 4 ply' or a 2 ply yam as 'Knit as

knitting a 'standard 4 ply' on, say,

you have 28 stitches and 40 rows,

however, is to just run two differ

3 ply'? Now, before going any fur

number ten needles. Most of the

but a friend has 30 stitches and 44

ent coloured yarns through the car

ther, why do yarns have to be

suppliers of yarns will provide

rows then one of you is incorrect.

riage feeder. If this is done one just

twisted together?

yarns suitable for this and, although

Some of you may be using 'Indus

Yams are twisted, of course, to

there is a small amount of flexi

trial Yams' which are generally on

the fine side and described as 2/30s,

gets 'random plating' with a very

irregular effect.

give greater bulk, but a very impor

bility one can say that 'not too thin

Most fancy yarns are made by

tant reason is to give stability. If a

3 ply or not too thick 4 ply can be

3/21s etc. and in these cases the

twisting together the component

yarn is twisted it will want to

used. Thick yarns will be very

final count is 15s or 7s respectively.

yarns in a regular manner so that

untwist and so we have what is

'boardy' and thin yarns will be very

How do we convert this to yams

a periodicity develops and there

called 'S' and 'Z' twist. If we have

loose and have no stability what

suitable for home knitting? (See

is a periodicity in the amount of

'S' twist single yarns we will put

soever. The chunky machine can,

box below).

yarn in the rows which you are

them together with 'Z' twist to give

knitting and they may fit in with

a balanced thread. After twisting,

each other giving a pattern effect

yarns are generally given a steam

Possibilities

Count Needed
2 ply T approx. 7 -10

2/14 to 2/20

2 strands 2/28 to 2/32

(which may or may not tum out to

heat treatment to take the strains

be desirable!). This is not normally

out, so that they do not snarl whilst

3 ply T approx. 6

2/12s

2 strands 2/24

a problem in the main part of the

being used. A 4 ply yarn will prob

4 ply T approx. 4 - 5

2/8s

2 strands 2/14 to 2/16

garment because the yam in each

ably give you nicer knitting because

row is quite long but this is not so

you will then have a nice rounded

DK

desiqHeY

2 strands 2/12

T approx. 3

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Step 1. W.ith right side facing, pick up buttonhole

edge. Knit rows to buttonhole position. Place a con

trast thread.over buttonhole stitches.

Step 2. Knit rows to fold line and same number of

rows back tqsecond buttonhole placement. Pick up

loops from top of contrast thread and hang on to cor

respondirig needles.
'
!.

Step 3. Cast off buttonhole stitches (use same colour

yarn as band - contrast shown here for clarity).

Step 4. Buttonhole needles now empty, last cast off

stitch hooked to adjacent needle,

Step 5. Pick up loops from below waste yarn and

place on to empty needles. Knit remaining rows to

complete band. Knit a few rows waste yarn and release.

Step 6. Buttonhole still joined by the contrast thread

that was used to knit stitches. Wrong side view shown.
Step 7. Pull out contrast thread. Buttonhole complete.

Right side view shown (contrast at buttonhole would

be replaced by band colour),

Step 8. A finished band.

CLWYD TECHNICS
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gives you both standard garments and freedom to redesign into
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* Unique stitch pattern gives you FINISHED FABRIC view on screen
* Prints patterns to scale for mylar sheet transfer
* Designer Jacquard option and the 'Optimiser' facility
*

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screen
Transfer to PC from knitting machine
Transfer to PC from PPD/cartridge

System 90 package comes complete with software, appropriate

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For those interested in the package, Clwyd Technics offers specifically

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Buttons were one of the earliest

known forms of garment fastening

such wonderful choices within the

means of everyone.

and, as such, have a long and fas

In past times, buttons were seen

cinating history. Their develop

ment and decoration
indeed,
even the materials they were made

as a status symbol and in an odd

sort of way, nothing really changes.
I knew some one a few years ago

from, reflect much of the social his

tory and financial divides associ

whooe financial affairs weren't quite

as comfortable as they had been a

ated with different periods. It is,

little earlier. From buying designer

names, she was buying from chain

however, hard to imagine that any

previous generation had such a
fingertips as we do today. Made
from a vast range of materials,

stores - but selected her purchases

with great care. She looked for the
closest 'copies' of designer-styled
garments, then would carefully

wood, metals, plastics, glass, thread,

select the nearest 'correct buttons'

leather, mother-of-pearl, to name

and swap the originals - so that

but a few, perhaps the synthetic

the garment really looked like the

more expensive version. That's

wealth of button selection at their

materials have done most to bring

- now being sold worldwide!

OVERSEAS DISTRIBUTORS
AUSTRALIA- Reynolds Brothers,
Carlton, NSW 2218 Tel: (02) 587 5020

GERMANY- Wottgang Strohlein,

Strima AG, Lindlar Tel: 22 663168

FINLAND - Jim Davenport, Elovaara,

NORWAY- Egil Hansen Tel: 988 0324

NETHERLANDS - Unique Line

Tel: 23 25 9351

USANorthwest Knitting Inc (Denny), Olympia

WA 98506 Tel: 206 943 9711

SWEDEN - Ursula of Sweden, Giiteborg

Tel: 31 806802

Mary Lue's Knitting World (Chuck),

Minnesota Tel: 507 931 3702

DENMARK- Brother International, lshoj

Tel: 425 25600

Wee Knit Shop (Marge & Ken), Michigan

Tel: 616 683 8727

82200, Hammaslahti

Clwyd Technics, Antelope Industrial Estate,

Rhydymwyn, Near Mold, Clwyd CH7 5JH
Telephone Mold (0352) 741751/4 Fax (0352) 741348
11

really quite a clever idea (it was

they are very reasonably priced.

ment labels in the back of the gar

The colour contrasts and yet does

ment I had problems keeping my

so with a reasonable degree of dis

face straight- but then, that's just

cretion. Depending on the garment

my rather perverse sense o f

style - a jacket say - it could be

humour!). We don't all feel the

worn with equal confidence to the

need to 'keep up with the Joneses'

office or over a suitable outfit at a

but she had obviously learnt a valu

semi-dressy occasion.

able lesson. The careful choice of

buttons can take the simplest gar
ment right out of the ordinary class
and into a distinctive look and feel
of its own.
The background colour ol

being made in synthetic material,

when she also exchanged the gar

ON BUTTONS

Changing buttons can, as already

mentioned, dramatically alter the
appearance of many garments. This
is more than effectively demon
strated with our contrast edged
jacket pattern. Photographed orig

Sample 1 is not a shade for self

inally using gold blazer style but

effacing button styles! Toning but

tons and shown here with an alter

tons, in interesting shapes, could,

native set in the background colour.

of course be selected, but look at

As the knitted bands and edgings

how the colours really come alive

all contrast with the main fabric,

with the bold contrast of yellow.

the buttons, although they match

Using any of the button shapes

the main fabric, still provide a con

shown, the simplest of plain jack

trast positioned on the bands. They

ets becomes a fashion item.

provide a totally different style of

A different button treatment on

colour linkage within the garment

the red of Sample 2 could be used

than did the original - discreet

as a link between other items you

without loss of style.

might want to wear with it. In the

Uncharitable thinkers might feel

simplest outfit-a white shirt with

that Sample 5 is suited to an inde

a black blouse, the lively black and

cisive mind! In fact, it is another

white buttons link all the pieces

effective way of potentially link

together, whilst the red itself is a

ing colours in an outfit. The but

warm and welcoming contrast.

tons have been selected in the same

Sample 3 shows two possible

style and size, but alternate in

treatments for the same background

colours. The other contrast is pro

fabric. At the left, contrasting

vided by the hard, glossy faceted

coloured buttons in the same style

head against the comparatively

and size have been selected. In

matt knitting. This idea can be

keeping with many of the looks

expanded for classical to purely

around at the moment, even their

fun styles as shown in Sample 6.

attachment to the fabric can be

The toggles are coloured wood,

changed as the needs of the gar

unusual enough perhaps, but with

ment dictate. For a discreet look,

their alternating contrast colours,

then they can all be sewn on either

would form a feature difficult to

using the background colour thread

ignore on the most self-effacing

or the same colour as their centre.

style! A contrast of shape, style and

For a fun look, you could select

material on the right of the sample,

coloured threads to match the con

where both alternating colour and

trasting button edge. We have used

size are used to good effect. The

the colours to give yet another con

shadow on the right of the button

trast in the centre (red in the green

is actually an integral part of its

button, green in the red button),

shape, giving a deeper three-dimen

whilst yet another option would

sional effect than the depth of the

be to sew red-edged on using red,

button warrants!

etc.
On the right of the same sample,

Sampie 7 - whose background

fabric is a selection of six stitches

the same colour and style has been

from one of our stitch library pat

used, but the sizes of the buttons

terns - shows off jewel coloured

have been alternated. In this case

buttons which are wonderful for

they make a bright, bold statement,

special occasions and a dramatic

but this principle can be much

look. With the choice of colours

more subtle, as on our coral tunic.

contained within the gold metal

In fact, the buttons and buttonband

lic framing, these could be used

on the tunic have no functional

on a wide variety of fabrics and

aspect at all- there is no opening

colour backgrounds to excellent

to close! They have been added to

effect. And, whilst we are consid

give a plain and simple garment a

ering dressy buttons, take a look

new focus.

at Sample 8. On the same back

Sample 4 uses contrasting button

ground three totally different

colours, yet has a classy look to it.

buttons lift the image of simple

The buttons look expensive but

stocking stitch into another class.

13

VERSATILITY
ITSELF

If you consider the fact that so

library could be linked by colour

far, our button selection has been

and shape to an appropriate button

shown on mono-colour fabric, just

selection. Look at the shapes in

tf'u:

consider how much fun and inter

Sample Swatches B, D, E, F, G, M,

est you can add With the right but

N, 0 and P then look again at the

@uuOOD @@@

tons on patterned garments. Many

'Smartie' shapes on Sample 3 and

of the fabrics in this month's stitch

the geometric assortment on

Sample 1. Many of these would

from

:;arry through the pattern and colour

PFAFF

area, lifting any garment into its

scheme to the oft neglected band

own special class.
Next time you are knitting a gar
ment that requires buttons, try and
think of the overall image that you
want to project. It is worth a little
extra trouble to show off the hours
you have spent knitting the gar

ENLARGE 100 TIMES

e FOUR COLOUR
e 232fl3V3fl

00!0080

e WIDEN

Q
a:

Buttons used in this article are

available from:

S iio

J...
'r..

ment to best advantage.

rrr
c,

lflO

The Button Box - who now

have a stall in the Piazza Apple
Market, Covent Garden, London
on Tuesdays and Wednesdays
(mail order not available at pre

DESIGN YOUR OWN WITH

sent- but this firm attends all the

major knitting events).
Elsie's Wools, Cooke Yarns,
Dinam Park Avenue, Ton Pentre,
Rhondda CF41 7AT (telephone
0443 431500). They operate a mail

ALLSEW KNIT GIVES

order service, contact them for cat

alogue details.

A COMPLETE SERVICE

Peapods to Zebras, 4 The Cres

cent, Hyde Park Comer, Leeds LS6

Personal Free Delivery

2NW (telephone 0532 742044).

Mail order available- new spring

3 Day Tuition at PFAFF National

catalogue due soon, price 2.

Knitters School
Free Video
5 Year Guarantee on Parts
TELEPHONE FOR ADVICE, INFORMATION OR QUOTATION, TO
ALLSEW KNIT AT
WARLEY 021-559 3272. 021-561 5270
YARDLEY 021-708 2809. 021-708 2380
NOTIINGHAM 0602 476600

1558 Coventry Road,

Yardley,
Birmingham 826 1AD.
Tel:
021-708 2809/2380
Fax: 021-708 2380

9 Halesowen Street,
Rowley Regis,
Warley, West Midlands
865 OHG.
Tel: 021-559 3272,
021-561 5270

Postal service on accessories.

14

15A
Houndsgate,
Nottingham
NG1 7AA.
Tel:
0602 476600

..

The desire to make things seems

and magazine editors alike were

to have been a part of Betty's life

knocking at the door-asking her

from childhood. Her mother and

to make her innovative designs

grandmother hand knitted - so

available to all! Happily for us,

Betty did too. She says that she

Betty enjoys doing this type of work

didn't design as a child, but simply

and has continued writing and

adapted bits and pieces of com

designing for an enormous range

mercial patterns to suit herself (I

think most people would accept
that as designing!). However, to
start with, her college courses
seemed to lead away from textiles.
Studying 3-D Design and working

rom

00

in ceramics, metal and wood at

of publications. Her Intarsia designs

are

still very popular and King Cole

recently published a delightful set

of her wildlife designs - illus
trated on page 17. (The charts are
easy to follow for machine knitted
Intarsia).

Manchester Polytechnic, led to her

winning a coveted place at the

00

Royal College of Art in London to

specialise in furniture design. It
was whilst she was studying fur
niture that she acquired her first
knitting machine.

THE FORGOITEN BICYCLE

THE COUNmY LIFE

Four years ago she made the move
from London to the outskirts of
Whitchurch. She now lives in
splendid countryside with her dog,
cat and chickens. The peace of her
surroundings is still a wonder after
the constant background noise of
Putney and the feeling was rein

It was her birthday and she was on

forced, when being disturbed by a

the way to buy a second-hand

scratching noise one wet day, she

bicycle, when she passed an Oxfam

investigated only to find that it was

shop. There, in the window, was

being made by a snail crawling

a second-hand knitting machine.

over glass! It would have been a

The bicycle forgotten, this simple

very large and voluble snail to have

machine - no punchcards, no

been heard in her old home!

press buttons, had a new home! It

also had an immediate impact on
her furniture design, for she was

CURRENT INSPIRATIONS

soon to win the first of many awards

Betty's broad interests include play

- when she shared the college

ing tennis and gardening, whilst

Courtelle prize-for her work in

her design talents have spilled over

machine knitted upholstery and

into a wide number of fields. She

furnishings. From such 'large'

is now regularly commissioned for

beginnings she had soon diversi

her crochet and tapestry designs

fied into sweaters and having left

as well as knitting and draws a lot

college, found she was kept

of her current inspiration from her

extremely busy with special com

surroundings. Not that she sits

missions. Simple as her first

around waiting for ideas to

machine was, she says it was excel

'happen'. Her 'Swallows on a wire'

lent for Intarsia, which soon formed

Intarsia sweater (featured in Feb

the core of her work. She spe

ruary Profitable Machine Knitting)

cialised in pop stars' faces and indi

was inspired by the view from her

vidual portraits made to order.

bedroom window. To catch the

Many of her items were sold via

right light, she was up and pho

Paul Howie, through whose con

tacts with the pop world, com

the telegraph wires at Sam! How

tographing the birds gathering on

ever, despite such careful prepa

missions for logos -for groups

machine knits, she also started pro

diversification didn't deflect from

and record companies followed.

ducing a small range of hand knits

her increasing skill in machine

ration she admits to some artistic

However, with such diverse design

along the same sort of themes. In

knitting, which was reflected when

licence with the positioning of the

ability, Betty didn't solely knit, she

1982, her hand knitting won her

in 1986 she won a Knitmaster

birds - apparently they can be

also designed, made and sold some

another coveted Courtelle award.

design award with the suit shown

rather difficult to persuade to sit

glass fibre furniture to the highly

The winning garment is fondly

on page 16.

in a proportionately balanced

acclaimed Biba store!

remembered - a dragon theme

MORE AWARDS
Having some success with her

manner!

which represented the scales by

GOING PUBLIC

the use of a 3-D stitch technique

With such talent and publicity, it

With her new series for Machine

Knit Today, Betty almost comes

(pictured on page 16). Such

was only natural that spinners

full circle -as she will be giving

15

us techniques, ideas and suitable

fabric constructions which are
appropriate for a wide variety of
furnishing items. She tells me that
thinking about the pieces and
furnishings associated with the
series has also spawned a host of
ancillary ideas -with her diverse
skills, the results will always be
interesting!

RELAXATION

So what does this talented lady do

to relax when the weather is too
inhospitable for the outdoor life?
Well, her recent projects, purely
for pleasure, include making a
couple of looped wool rugs and a
crochet throwover for the sofa. She
has designed a range of linocut
greetings cards which are sold
locally and is currently eyeing up
her chairs with a view to some new
tapestry coverings. She still enjoys
making things and reckons she's a
dab hand at DIY (readers, join the
queue -I've dropped some pretty
unsubtle personal hints already!).
With such a high profile through
out her designing life, Betty remains
completely unaffected by the fact
that her name is known by knitters,
crocheters and craft enthusiasts
nationwide. Her Liverpool roots
(she was born in Crosby) have left
her with a great sense of humour,
a liking for live music and an enthu
siasm for her work and life which
is contagious.
Welcome aboard Betty, it's great
to have you on the team.

ABOVE BETTY (RIGHT) WITH HER WINNING OUTFIT IN THE

KNITMASTER MASTER KNITIER
CHAMPIONSHIP 1986
LEFT WINNING DESIGN IN THE HAND KNITIING SECTION,
COURTELLE AWARDS 1982

16

PHOTOGRAPH D.C. THOMSON & CO.LTD.

USED BY KIND PERMISSION OF MY WEEKLY
WILDLIFE DESIGNS PUBLISHED
BY KING COLE

I Visa
BUYING A
KNITTING MACHINE?
SCOTLAND'S ALWAYS ON THE BALL
OPEN 7 DAYS A WEEK

IA ccess I

Drummond Wools
of Edinburgh

are hooked on giving you the best

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Telephone David on

031-313 1002
FREE delivery anywhere in the UK

,A- c-c-essI
CROCHET SWEATERS FOR TWILLEYS CROCHET COLLECTION

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Drummond Wools
79181 Haymarket Terrace, Edinburgh EH12 SHD
Tel: 031-313 1002
Fax: 031-313 1004

17

BEAUTIFUL amoNS
Although I'm assured that 'Focus
on Buttons' (see page 11) wasn't
inspired by Joyce Whittemore's
book - The Book ofButtons- it
would have been quite under
standable if it had been! Contain
ing thousands of wonderful but
tons, it is certainly a lot more than
a catalogue. The history of buttons
is fascinating and Joyce sets their
style and manufacture into the
social life of the past wearers in a
truly interesting fashion. The dis
played buttons are fully described
with some of the materials and
manufacturing methods outlined.
There are buttons made from all
sorts of natural materials, wood,
bone, glass, semi-precious stone,
shell, and leather- to name a few!
Plastics have provided a newer
medium and different stylings for
buttons, opening up a wealth
of colours, shapes and embellish
ments hardly thought of years
ago.
The skills of the button makers
to the top couturiers, past and pre
sent is beautifully illustrated by
buttons in fabrics and braid, net
and beads. The selection of but
tons can do so many things for a
garment and Joyce has clearly illus
trated different fabric and style
themes with a wealth of different
looks they could attain by the
choices available. Of particular
interest to all knitters is the section
on 'Knitting Yarns' -where con
trasts of textural and colour qual
ity of yarns and buttoru; are clearly
explained and illustrated. A final
section &ves lots of ideas for making
your own buttons or adding dis
tinctive buttonholes to different
types of garments. All in all, a beau
tifully presented and fascinating
reference and ideas book. Published
by Darling Kindersley and priced
at10.99.

THE U1 ODE TRANSFER LOCK

Is the title of a new set of Working
Notes by Angela Gordon. Their
preparation was by request from
knitters who couldn't attend a
course Angela had given and who
envied their fellow knitters clear
notes and understanding!
I am sure that they will be wel
comed by all Passap/Pfaffknitters
who would like to do a little more
than transfer their welts across on
t one bed -as this is an extremely
versatile piece of equipment.
Angela's style is most reassuring,
giving you practice samples to work
through so that you become
comfortable and confident in
transferring. She starts off with
the most common requirements,

18

by Val Slater

transferring different types of rib.

which is both unusual and attrac

By Sample 6, however, she is

tive and four tops. The Skirts and

whilst manual or console/Deco

your local machine knitting shop,

produced lace is the topic of Sam

but is also available direct from the

encouraging you to try garter stitch,

Tops book should be on sale in

ples 9 and 10 respectively. The

author (price 4.25 inc p&p) -

final two samples, manual weav

Mrs M. Andrews, 79 Hookfield,

ing and manual embossed rib

Harlow, Essex CM18 6QQ (Tel.

should find the end user fully con

0279 422994).

JACPACS

:!AC-CARD'
SINGLE & DOUBLE BED YARN HOLDER

versant and confident about all the

UlOOE's functions and capabili

KNIT KITS

ties. The UlOOE Tran sfer Lock

Most knitters know that there are

Working Notes are priced at 4.50

and are available from Angela
Gordon, 29 St Helens Road, Sand
ford, Wareham, Dorset BH20 7AX.

WRITE YOUR OWN

PATIERNS TO FIT
Is the name of programs by Terry

some wonderful bargains to be had

in industrial yarns, but can be reluc
tant to try them out if they haven't
got suitable patterns. Ridgeway
Yarns is owned' and run by a
machine knitter, who understands
such fears, so she has come up with
some wonderfully tempting pack

Mason. They have been available

ages for the timid! There are two

for some time now, but the range

suit styles available as illustrated

of computers that they are avail

-one has a jumper top, the other

able for has been slowly but surely

a cardigan top. I saw them at a recent

extended. Programs are available

machine knitting show and couldn't

for Spectrum, Amstrad 464, 664

believe the quality for the price -

and 6128, Commodore 64, Atari

this is for the pattern, yarns for the

ST and PC owners. Titles are priced

suit and everything else required

at 9.95 each and there are four of

to complete it - 12.50 per kit!

them:

Postage needs to be added on to the

All Your Classic Styles -

A KNIT DOUBLE JACQUARD WITHOUT

W HAVING TO USE A COLOUR CHANGER!
A FITS ALL JAPANESE MACHINES
W IN SECONDS!
A USE IT FOR FAIR ISLE AND TUCK
W STITCH AS WELL!
COMPLETE WITH SIMPLE
INSTRUCTIONS AND TWO STARTER
PUNCHCARD DESIGNS

3.95

plus 25p p&p

Also available:- 'Beginners Guide to Double Jacquard

price and varies according to the

includes round and 'V' necked

Knitting' containing designs, patterns etc. 3.50 (inc P& P) .

number of kits ordered-for exam

Many other designs available, send SAE. for leaflet.

raglan or set in sleeves with a choice

ple the postal cost for one is 3.50.

of long, short or sleeveless styles

Both patterns are designed for use

in a wide range of sizes (or define

on 24 stitch punchcard machines

your own).

with ribber, are clearly laid out,

Fashion Tops and Batwing -

with excellent order of work and

includes drop shoulders with many

making up instructions. Colours

body and sleeve styles, plus a side

available on their order form are

ways knitted batwing with your

Aran, Navy, Jade, Taupe, Dusty

choice of neckline.

- has a variety of

Pink and Baby Blue. Requests for

further information or orders should

different styles which can be used

be addressed to Ridgeway Yarns,

with your own measurements or

5 High Street, Husbands Bosworth,

as standard sizes with length adjust

ments.

Leics LEl7 6LJ.

Skirts Vol. 1

Tops IIand Cardigans - extends

the range offered by classic styles.
Programs are sold on tape, but
are available as a complete set of
four on a disc for Amstrad 6128,
Spectrum Plus 3, Commodore 64
or PCs running MSDOS, at the bar
gain price of 34.95. Terry's pro
grams were my first introduction
to designing on a computer and
are an excellent and easy system
for the beginner and more experi
enced knitter alike. Enquiries and
orders should be addressed to Terry
Mason, 15 Inishmoyne Green,
Antrim, N. Ireland BT41 4JZ (Tel.
08494 62381).

SKIRTS AND TOPS

Jacpacs, 19 South Rd., Portishead, Bristol, BS20 9DU.

MORE HELP ON
DESIGNAKNIT 5
Angela Gordon has certainly kept
herself out of mischief lately as she
has recently completed Stage Four
of her DesignaKnit 5 Working Notes.
These cover and explain all the
new features of the program in her
usual thorough manner-by giving
the knitter working examples so
that they can experiment and learn
simultaneously. Ifyou have recently
upgraded your version and would
appreciate a short cut to using and
understanding the new features,
then this is certain to be most help
ful. (If you were lucky enough
to-receive DesignaKnit for Christ
mas and still haven't got to grips

Maggie Andrews's mix and match

with it, Angela has three earlier

selection of skirts and tops started

sets of notes in the series.) The

life as individual patterns and have

Working Notes are priced at 4.50

now been collected into a pattern

per set and are available direct

book. There are four skirts, includ

from Angela (details as for UlOOE

ing shadow pleated Fair Isle -

Transfer Lock).
19

SIZES

To suit bust 86[91:96:101:106:111]cm.

Finished measurement 94[99:104:109:
114:119]cm.
Length 69[69:70:70:71:71]cm.
Sleeve seam 50[51:52:52.5:53:53.5]cm.
Figures in square brackets [ ] refer to
larger sizes; where there is only one set
of figures, this applies to all sizes.
MATERIALS

King Cole Anti-Tickle 4 ply Wool.

Tunic: 1 x 500g cone+ 0[1:1 :2:2:3] x
50g ball in MC.
5 x 2cm diameter (or larger)+5 x 1.5cm
diameter buttons.
Cardigan: 1 x 500g cone+ 0[0:0:1:1:2]
x 50g ball in MC.
1 x 50g ball in each of A, B and C.
16 buttons.
MAIN TENSION

30 sis and 40 rows to 1Dem measured

over st st (tension dial approx 7)
Tension must be matched exactly before
starting garment.
ABBREVIATIONS

See page 50.

NOTE

Knit side is used as right side.

Measurements given are those of fin
ished garment and should not be used
to measure work on the machine.
SPECIAL NOTE

Cardigan back and sleeves worked as

given for tunic-with amendments to
colour detail on the edges.
BACK

Push 142(148:156:164:172:178] Ns
to WP. Using WY and MT, cast on and
Ka few rows ending CAR.
Set RC at 000. Using MC and MT-3,
K 22 rows. Turn a hem by picking up
loops of first row worked in MC and
hang evenly along the row***.
Set RC at 000. Using MT, K until RC
shows 166.
SHAPE ARMHOLES

Cast off 6[6:6:7:7:7J sts at beg of next

2 rows. Dec 1 st at each end of next
6[7:8:10:11:13] rows. 118[122:128:130:
136:138] sts*. K until RC shows
266(266:270:270:274:274].

SHAPE SHOULDERS

Cast off 32[33:35:36:38:39] sts at beg

of next 2 rows. WK over rem
54[56:58:58:60:60] sts.
FRONT

Work as given for back to * placing

20

Lady1s Adaptable Pattern Long-line Cardigan with

Contrast Edge Detail and
Tabbed Front Tunic

54[56:58:58:60:60] sis from below WY

at back neck, 29[30:30:31 :31:33] sts
from side neck, 24 sts from below WY
at centre front and 29[30:30:31 :31:33)
sts from side neck and hang evenly on
toNs. Remove WY. Using MC and MT3, K22 rows and WK.
FRONT FLAP

Push 178(178:182:182:184:184] Ns
to WP. Using WY and MT, cast on and
K a few rows ending CAR. Set RC at
000 and using MC and MT-2, K until
RC shows 22. Turn a hem by picking
up loops of first row worked in MC and
hang evenly along the row. WK.

MACHINES: These instructions are written for all standard gauge

machines
YARN King Cole Anti-Tickle 4 ply Wool
FIBRE CONTENT" 100% Pure New Wool
COLOIJR: For the tunic we used Coral (MC) and for the Cardigan
French Navy (MC}, Emerald (A}, Gold (BJ and Coral (CJ
STOCKISTS: If you have any difficulty in obtaining this yarn, please
write to King Cole Ltd, Merrie Mills, Old Souls Way, Bingley BD16 2AX

TO MAKE UP

Block and steam press pieces to cor

rect measurements. Join shoulder seams
and neckband seam. With right side
facing, place the last row of the front
flap against the markers on the front,
starting at the bottom of the hem and
finishing at the bottom of the neckband.
Backstitch through loops of the first
row. Fold neckband in half on to right
side and finish by backstitching through
last row worked in MC-ensuring the
top edge of the front flap is covered.
Set in sleeves. Join side and sleeve
seams. Sew on buttons as shown.

markers on the 4th N to R of centre 'O'

approximately every 50 rows. K until
RC shows 230(228:232:232:236:234].
Set carr for HP and push all Ns to L of
centre 'O' and 12 Ns to R to HP. Cont
over rem sis for first side. **Dec 1 st at
neck edge on next 15[16:17:17:18:18]
rows. 32[33:35:36:38:39] sts. K until
RC shows 266(266:270:270:274:274].
Cast off.
CAR. Push 24 Ns nearest car to UWP
and WK.
CAL. Reset RC at 230(228:232:
232:236:234]. Set carr so HP Ns will
Kand work to correspond with first side.

CARDIGAN
BACK

Work as given for back tunic using B

to ***. Using MC, complete as given
for back tunic.

SLEEVES

Push 70[70:72:72:76:76] Ns to WP.

Using WY and MT, cast on and Ka few
rows ending CAR. Set RC at 000. Using
MC and MT-4, K until RC shows 22.
Turn a hem by picking up loops of first
row worked in MC and hang evenly
along the row**.
Set RC at 000. Using MT, K4 rows. Inc
1 st at each end of next and every fol I
4th row 47[47:48:49:50:50] times in all.
164(164:168:170:176:176] sis. Kuntil
RC shows 190(194:198200: 202:204].

SHAPE TOP

Cast off 4[5:6:7:8:8] sis at beg of next

2 rows. Dec 1 st at each end of next
8[8:8:10:10:12] rows. 140(138:140:
136:140:136] sts. Cast off 8 sis at beg
of next 17[17:17:17:17:15] rows. Cast
off rem 4[2:4:0:4:16] sis.

"'

Work as given for tunic sleeve using A

to **. Place a marker at centre. Using
MC, work as given for tunic sleeve until
RC shows 40. Place a marker at centre
and complete as given for tunic sleeve.

NECKBAND

Push 136(140:142:144:146:150] Ns
to WP. With right side facing, pick up

RIGHT FRONT

Push 71[74:78:82:86:89] Ns to WP.

18(18519:19:20:20)

"'

SLEEVES

545[54.556:565855
. 8 5)
- :-45: 5
- 6)- 1
-3-9(4-0. 5-: 42: 43

TUNIC
BACK/FRONT
AND
CARDIGAN BACK

47(49.5-5254 5:57:59.5)

FRONT
BAND(S)

SLEEVE

CARDIGAN
FRONT
23 5(23 5:24:24:25.5:25.5)

23.5(252627 5285 301

POCKET FLAP
c::::::J I
10

SLEEVE FLAP
c:::=:::J I
12 s

I
I

R. K until RC shows 17. Work button

hole over same Ns as before. K until
RC shows 22 and WK.
POCK ET FLAPS
Push 30 Ns to WP. Using WY and MT,
cast on and K a few rows ending CAR.
Using A and MT-2, K22 rows.
Turn a hem by picking up loops of first
row worked in A and hang evenly along
the row.
K1 row and WK.
Work a second pocket flap using Band
a third using C.
SLEEVE FLAPS
Push 38 Ns to WP. Work as givffl for pOO<Ei
flaps, making one in C and one in B.
TO MAKE UP
Block and steam press pieces to cor
rect measurements. Join shoulder
seams. Fold neckband in half and finish
by backstitching through last row worked
in A. Slip stitch band ends. Place pocket
flap in A over markers on lower L front
and finish by backstitching through last
row worked in A. Slip stitch edges and
fasten to front. Stitch pocket flap in B
to L upper markers and pocket flap in
C to R front markers - completing both
as for flap in A. Set in sleeves. Stitch
colour flap in B to right sleeve from
hem to top marker and facing towards
back. Stitch remaining sleeve flap to
left sleeve in the same manner. Press
front bands and flaps. Join side and
sleeve seams. SfJN on buttons as shown.

Using WY and MT, cast on and K a few

rows ending CAR.
Set RC at 000. Using B and MT-3, K
22 rows. Turn a hem by picking up
loops of first row worked in Band hang

evenly along the row.

FRONTBANDS

Set RC at 000. Using MC and MT, K

until RC shows 44. Counting from L,

WP. With right side facing, pick up front

place markers on 23rd and 48th Ns. K

until RC shows 166. CAR.

edge and hang evenly along the row.

BUnDNBAND

Push 170(170:174:174:176:176] Ns to

SHAPE ARMHOLE

Using C and MT-3, K22 rows and WK.

Cast off 6[6:6:7:7:7] sts at beg of next

row, K1 row. Dec 1 st at armhole edge
on next 6[7:8:10:11:13] rows. 59[61:

BUTIONHOLE BAND
Work as given for button band but
adding 6 evenly spaced buttonholes on

64:65:68:69] sts. K until RC shows

229(227:231 :231 :235:233].
SHAPE NECK

5th and 17th row.

Fold bands in half on to right side and
finish by backstitching through last row

Cast off 12 sis at beg of next row, K1

worked in C.

row. Dec 1 st at neck edge on next

15(16:17:17:18:18] rows. 32(33:35:36:

NECKBAND

38:39] sis. K until RC shows 266(266:

Push 152(156:158:160:162:166] Ns

270:270:274:274].
Cast off.

49[50:50:51 :51:53] sts from front neck,

to WP. With right side facing, pick up

54(56:58:58:60:60] sts from below WY

22

LEFT FRONT

on back neck and 49[50:50:51:51:53]

Work as given for right front reversing

sts from front neck and hang evenly on

shaping and placing two more mark

to Ns. Using A and MT-3, K5 rows.

ers at RC 176.

Work a buttonhole starting at 5th N from

.i

SIZES

To suit chest 102(107:112:117:121 Jcm.

Finished measurement 114(118:122:
126:130]cm.
Length 69[70:70:72:72Jcm.
Sleeve seam 58cm.
Figures in square brackets [ ] refer to

Mans Duo
Jacquard Sweater
Illustrated on page 21

1 x 500g cone in each of MC and C.

correspond with R.

FIBRE CONTENT: 100% Acrylic

COLOUR: We used Navy (MC) and Light Mustard (C)

SLEEVES

Push 70(72:72:74:74] Nson FB and cor

STOCKISTS: If you have any difficulty in obtaining this yarn,

MAIN TENSION

40 sts measure 17.3cm and 40 rows

measure 5.4an measured over Jacquard

43(45:48:50:52] sts.
Reset RC to 400(408:408:424:424].

spond with patt and Ns.Work L side to

YARN Bramwell Duomagic

Bramwell Duomagic.

8th row 3 times in all. RC shows

460(468:468:484:484]. Cast off rem

Return pushers at L to WP to corre

MACHINES: These instructions are written for Passap/Pfaff

Duomatic machines with Deco unit

MATERIALS

1 st at neck edge on next and every f al I

Put Deco back to previously noted row.

larger sizes; where there is only one set

of figures, this applies to all sizes.

Dec 1 st at neck edge on next and every

foll 4th row 4 times in all, K7 rows. Dec

responding Ns on BB to WP. Working

please write to F W Bramwell & Co Ltd, Unit 5, Metcalf Drive,

from Diagram 1, cast on and work cuffs.

Set RC at 000. Attach Deco and set card

Altham Lane, Accrington, Lanes BB5 5TU

patt after swatch has been left to dry

to start on 16th[16th:16th:first:first] row.

under a damp cloth (SS approx 4YJ4X).

Tension must be matched exactly before

Handle down, blue strippers. Set

machine for main pattern as shown in

starting garment.

Diagram 2. Follow Diagram 2 for patt,

tension and colour sequence and work

ABBREVIATIONS

in patt throughout. K12 rows. Inc 1 st

See page 50.

at each end of next and every folI 12th

row 18 times in all. K16 rows. Inc 1 st
at each end of next and every foll 14th

NOTE

row 11 times in all. 128(130:130:132:

132] sts. K until RC shows 376(376:
376:408:408]. Cast off.

Knit side is used as right side.

Measurements given are those of fin

ished garment and should not be used
to measure work on the machine.
20

NECKBAND

55[56:56:57:57]

PATIERN NOTE

Join right shoulder seam.

Punch Deco card as shown.

Push 148 Ns on FB and correspond

See Diagram 1 for details of casting on

ing Ns on BB to WP. Arrange Ns for

for welt, cuffs and neckband.

See Diagram 2 for all-over pattern oper

1x1 rib. Work cast on and neckband

SLEEVE

BACK/FRONT

rows as given in Diagram 1. Locks NIN.

SS 4Yi/4Yz K1 row. Push empty in

ation.

between Ns on BB to WP. Transfer sts

BACK

to BB. Handle down, black strippers.

SS 5, K1 row. Lower FB. With right side

Handle up, orange strippers. Push

facing, pick up neck edge and hang

132(136:142:146:150] Ns on FB and
corresponding Ns on BB to WP. Arrange

57[59:61:63:65]

Ns for 1 x1 rib. Work from Diagram 1

to cast on and K welt. Handle down,
complete last instruction on Diagram
1. K1 row. Set locks N/N, SS 3/3 K1
row.
Set RC at 000. Attach Deco. Handle

throughout. K until RC shows 460(468:

8 sts at centre. Using nylon cord, K sts

468:484:484]. Cast off.

on BB and then sts on FB by hand, taking

TO MAKEUP

ing rail. Note patt row. Cont over rem

sts at R for first side. Dec 2 sts at neck
edge on next and foll alt row row, K1

Join second shoulder seam. Fold neck

band in half to inside and slip stitch

row. Dec 1 st at neck edge on next and

sleeve seams, matching pattern care

every foll alt row 8 times in all, K3 rows.

fully at side seams.

Ns down to NWP. Remove corre

sponding pushers and put behind block

FRONT

400(408:408:424:424].

colour sequence and work in pall

Using a separate piece of MC, cast off

I II I I I
I I I I I I
DIAGRAM 2

BB
FB

K1 row SS 5J7 slowly. Locks NIN, SS

4W4Ji K1 row and latch off.

down, blue strippers. Set machine for

main pattern as shown in Diagram 2.
Follow Diagram 2 for patt, tension and

DIAGRAM1

Work as given for back until RC shows

SHAPE NECK

Handle up. Orange strippers

NlliK1 row-2strands MC
N1JI
CX2Y.K2rows

CX2Y.

Handle down. Push empty in

belween Ns to WP.
ex 3K2rows. N 3K1 row

CX3

"
,,

N3

I I I IIII IIIII
I I I I I IIII I I I

111111111111

BB
FB
Pushers

Note: Every RC152, take Decc card out of reader

and reinsert to 'O'. (No need to pass Deco over)

..

down. Set in sleeves. Join side and

COLOUR SEQUENCE
2rows MC
32 rows
2rows C
2rows C
44
rows Rep
2rows MC
throughout
2rows MC
32 rows
2rows C
2rowsC

2rows MC

]
]
]
] 44 rows

"'
:

&

..
II

"

Handle down.
Blue strippers
FX+->4JI
FX +- 4V.

Block pieces to correct measurements

and leave to dry under a damp cloth.

RCOOO 1'! 3Zi K34 rows !welt)

N 3Y.K46 rows cuff)
K34 rows neckband)

-,-1 1 ,.I--.,.1-.--,...---,-1 I Pushers

evenly along the row. Return FB to WP.

30[31 :31 :32:32)

!I

I
'
.
... ... . . . .. . . . . ..
'
.
.
. . . .. . .. . .. . . . . ..

"

23

Fair Isle has always been a favourite

THE EXERCISE

stitch structure of mine, in fact it

For this exercise I am going to use

was what first attracted me to a

the standard Stitchworld pattern

knitting machine - although with

book from which to extract seg

Shetland forebears, perhaps the

ments of pattern which build to a

meeting was inevitable. I like the

composite design. How you set

handle of the fabric, the pleasure

upon creating the pattern will

of blending colours, the almost

depend upon:

square stitch size and the straight

a) the cartridge model and

forward way it is knitted.

b) the amount of memory avail

able within the PPD.
Cartridge ill has an extra option

CONTROL SCOPE

on Help Menu 8 which allows a

A Pattern Programming Device

pattern to be rotated - that is,

(PPD) which gives scope to con

turned 90 degrees. Cfurtridge II does

trol every stitch in every row for

not have this facility. Ideally you

nearly a thousanC rows of fabric

will have a FB100 disc drive so

used in conjunction with recent

that the cartridge can be cleared

model electronic knitting machines

completely to give maximum

opens up so many design possi

memory.

bilities. The very thought of it can

be daunting; perhaps that has inhib

CARTRIDGE II

ited many knitters from accepting

Let's look at the method for car

that challenge.

THE START OF IT All

It was after memorising, on disk,
the pattern graphs of a complete
issue of a favourite Japanese pub
lication that I began playing
about with them. The result devel
oped into what I now call 'sampler'
sweaters and it is the method I use
to design these I shall be dis
cussing.

SET YOUR OWN LIMITS

It is up to you to set a limit on the
length of floats; no more than seven
stitches wide is a generally accepted
standard. However the pattern is
formed by a series of 'frames' and
on the horizontal pattern a single
row in main colour or contrast
helps define these. This need not
be a problem; within the body cut
the centre of the floats, then neatly
darn in the ends. If they go right
across the fabric, as on the sleeves,
treat like any other end at the
selvedge.

tridge II first. You will want to

PATIERN NOT"
CORRECTED

create up to ten resource patterns,

at a minimum size of 48 x 48 although 80 or 100 stitches square
is better. The idea is to place an 'L'
shaped border on each grid. When
enough are prepared, the small pat
terns can be brought together to
form the pattern 'proper' - a sort
of mix and match attitude to Fair
Isle. By keeping the remainder of
the grid empty, each pattern is
ready for use in conjunction with
any other. These are then assem
bled into a pattern 'proper' of 100
stitches x the number of rows to
equal the garment length. To give
some idea, a hip length sweater
knitted in 2 ends of 2/16(Rl10/2)
or 3 ends of 2/20-2/30 pure wool
worsted at tension 9, requires up
to 230 rows whilst a tunic worked
in the same manner requires
approximately 270 rows.

CREATING THE RESOURCE

PATIERNS
We'll begin with a square shape
such as the centre of the shield in

COLOURWAYS AND
INDIVIDUALITY

Stitchworld 15, stitch 9, row 47.

Main Menu 1, Create pattern: No.

I like to knit sampler sweaters on

901 48 sts x 48 rows.

a main colour of black, navy or

Help. Menu 7, built in pattern 15.

thunder grey with colour one to

Frame at stitch 9, row 47. Set. Lift

co-ordinate with the three con

the centre of the shield (6,6).

trasting colours used in the simple

Help. Menu 8, vertical spread,

plait knitted on welts, cuffs, sleeve

cursor 1,1. Step. 1 (confirm), pat

tops and neckband and for the

tern forms vertically at left of grid.

Swiss embroidery which gives an

Help. Menu 8, reverse, cursor 2,1.

individual touch to each one. The

Step 1. Vertical pattern is complete.

embroidery is a pleasant change

Help. Menu 8, clear reverse and

from knitting (particularly as the

vertical spread, set horizontal

eye keeps finding new shapes

spread, cursor 1,1. Step - pattern

within the overall pattern).

It is possible to include a sig

forms horizontally.
Help. Menu 8, upside down, cursor

nature within the sweaters. In some

1,2. Step 1. Horizontal pattern is

I hide a little peasant girl and boy,

complete.

either in the back body or a sleeve,

The first resource pattern is com

which is then embroidered.

plete. Help. 1 Step.

24

Example of Sampler
Yoke pattern
97 sts - extend
rows to 208

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11 ......

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FRAMES AND SQUARES

in length than stitches in width. Lift

Menu 7, lift. Help. Menu 8, verti

ALTERNATIVE DESIGNS

I could have framed an area 7 x 6

Help. Menu 7 on the the empty grid

cal spread and substitution. Cursor

There are many Stitchworld pat

which would have avoided the

with cursor 1,1 then use Help. Menu

1,1 Step. Look carefully at hori

need to Help. Menu 8, reverse,

9, Transfer pattern to correct. To

zontal mitre. Erase on the oppo

ment. Parts of 72, 71, 81, 50, 45,

cursor 2,1 at the second step of the

check that the square is true, run

site angle to match. Help. Menu 9,

vertical spread, but at Help. Menu

the cursor from 1,1 on the diago

lift the horizontal pattern, move to

43, 15, 13 and 85 are just some of

the ones you may recognise in the

8, horizontal spread, step, the motif

nal. It should exactly bisect the motif.

left to close mitre.

photo or stitch graphs. I don't hes

repeat is no longer square and has

Use Help. Menu 7 to lift the cor

A word of caution. Many of the

rected motif, erase using Help.

Menu 6 or on Help. Menu 8 set

motifs which at first glance look

substitution as well as the other

square are not, but have more rows

functions given in the example.

to be re-framed.

terns which adapt well to this treat

itate to erase or add to the pattern

BORDERS
Set about these in exactly the same

to give a lighter effect and to

decrease the length of floats.

way as fillers. Stitchworld 44: lift

Borders can be used just as suc

the horizontal motif, place and

cessfully upside down; lift from

erase one motif as before. Tum the

the top of 56, 71 or80 or use Help.

graph 90 degrees, key in, lift, use

Menu 8, 'Upside Down' with any

These are useful to separate the

vertical spread and substitution.

of the others.

bolder motifs or to give a sharp out

This time you have more choice

FILLERS

line when needed. See Diagram 1

of where the mitre is to come, in

for the three I use the most. Key

the flower or in the lower border.

ELECTRONIC PATTERNING ON
60 STITCH MYLAR SHEETS
Some of the ideas and patterns can

one,pattem on the horizontal, Help.

Erase accordingly, lift horizontal

Menu 7, lift. Help. Menu 8 hori

pattern and move to left to close.

be adapted for use as all-over

zontal spread and substitution.

If in doubt run the cursor through

designs on mylar sheet systems. If

Cursor 1,1 Step. Erase (Help. Menu

the comer on the diagonal. To get

the width is not too great, then

6) the first complete pattern at left

the correct position the horizontal

mirror imaging a 60 stitch section

and erase on the angle to form a

pattern may have to be lifted above

may be satisfactory. Superimposi

mitre on the second pattern.

row 1; you may wish to use Help.

tion directions for a similar effect

Now, turn the graph 90 degrees.

Key in again at left of screen. Help.

Menu 9 to reposition the pattern

to the PPD designs will be covered

to cursor 1,1.

next month.
25

FOR KNITTERS
JACQUARD COLOUR
SEPARATION

time consuming occupation!

Any knitter who has worked out

with the previous version was

know that it is very difficult to con

Should all the fixes unbalance

that multi-coloured Jacquard con

vert a pattern accurately without

your motif it can be saved as a new

motif and then you can return to

versions did not always work 100

making slight adjustments so that

per cent. The only way to check a

the pairs of rows fit together nicely.

the motif editor screen and tidy it

pattern was to either knit a sample

One easy way round this was to

up. Remember to go through the

or print it out and check every

always double up the rows in the

Jacquard conversion in the 'Stitch'

pair of rows manually - a very

pattern, which elongated the

menu again as you might find that

pattern which would then knit cor

the editing has caused one or two

rectly. The problem has been over

more errors.

(in ll111J11111

11111

-:- ..

Grab box for Tidy Scan each corner can be moved

individually
Sreen dump of PCX in
screen after file is loaded

the left or right cursor key.

their own Jacquard patterns will

Ill

next one is selected by pressing

One problem that I encountered

come in this new version by the

Error 1

screen. After one fault is fixed the

ll"I;JWU!J!E!!i:f:li:SUI2J-Il11DR1mPCX in screen showing

Tidy Scan box positioned
around a single iris

lffw.:KJIZ!lfSIIT.i(
PCX in screen with regular
scan box positioned and
then halved (on right). The
stitches and rows shown
above are for the area
surrounded by the box.
Move box around halved
motif to find out the size

addition of an 'Optimiser'. When

DESIGNER JACQUARD

multi-coloured Jacquard is selected,

A new type of Jacquard is also avail

the program will check the order

able and this is called 'Designer

in which colours are knitted and

Jacquard'. It is possible to design

select the one which produces the

motifs with up to eight colours per

least errors. A pop up wUidow will

appear on the screen informing

row, although in practice the

stitches on the front will be very

you how many errors are in the

elongated when using more than

conversion and you can then ask

four colours. With regular Jacquard

the program to help you to fix the

it is very easy to get into the colour

errors. This is achieved by the prob

routine because all colours are used

lem area being shown in a magni

on every row, even when there are

fied version to the left of the orig

no stitches in that colour on a par

inal pattern and the problem stitch

ticular row of the motif. This keeps

is outlined. You then have the

the fabric balanced as well as allow

option of changing the offending

ing for ease of knitting. Using

rectangle to another colour that

'Designer Jacquard' we select and

will work. The overall effect of the

knit with only the colours used in

changes is readily seen on the orig

each row. This means that the

inal pattern to the right of the

fabric will be unbalanced if, for

::.

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...
......
.
.
..
.
.
.....
..
.....
.. .
..
. .
.
...
...
...
...
...
..
.
.....
..
..
. .......
...
.

example, one part of a motif has

alphabetic characters to denote the

four colours in every row and

colours used and a 'Garment Stitch

another part has only two colours.

Map', which shows the working and

It is very important to pay attention

non-working needles in each row.

to the colour changing instructions

I find the new option of saving

on the screen when knitting this

the garment text instructions in a

MACHINE WORKS
Each month Peter Free - presen

the floor because, more often than

ter of the Knitting .\lachine Main

not. it will land on the arm and

tenance \'idea and co-author of

either bend it or push the plates

Jacquard and interactive knitting is

format that can be read by a regu

definite!y to be recommended. The

lar word processor useful. Another

the accompanying book- nil/ dis

in. Again the method for adjust

'Optimise' facility is also available

favourite is being able to save both

cuss aspects of sen'icing and care

ing the plates is fully explained in

with this type of Jacquard.

motifs and garment panels as PCX

1rhich can greatly enhance the life

'Knitting Machine Maintenance'

files which can then be imported

and performance ofyour machine.

- lack of space prevents me from

SINGLE ROW JACQUARD

There will never be any 'errors'
when knitting single row Jacquard
because each row has every colour
knitted in turn in one direction
only on the main bed. The ribber
bed knits alone on the return pass

into other painting programs such

11sDeluxe Paint II enhanced. These
last three options are useful for
knitters producing their own pat
terns for sale.

WORKING WITH PCX FILES

to take the yarn back to the colour

The PCX in menu now also has

changer. Whilst this sounds ideal

new options. After the item has

in theory, in practice it makes for

been imported from either a

very elongated stitches to the front

scanned or digitised image, or from

of the fabric. In three colours there

a painting program, you can move

will be six rows on the ribber for

the image down so that it is not

every single row on the main bed

obliterated at the top left edge by

and in four colours there will be

the menu bars. This used to annoy

eight for every one. The fabric pro

me and I find the new option super!

duced is greatly improved o n

The box can be placed around

machines with a ribber carriage

the image in the usual way, or you

that can select alternate needles to

can now use the 'Tidy Scan'. This

knit and slip.

is a box on which each corner can

SLIP STITCH

be moved individually (so you can

deliberately distort the perspec

This option produces two rows for

tive) allowing any part of the image

every row in the design. It is nec

to be saved as a motif. After the

essary to double up your pattern

before selecting the option, other
wise, the program will in effect
automatically create a new pattern
using the bottom row of every pair.
It is possible to knit up to four

part of the image you require has

been surrounded, you can set the
grid size to the number of stitches
and rows that you would like the
motif to occupy.
Before saving, use the 'Show

teen colours in any one row with

Motif option to see just what you

this type of stitch. On the single

will be saving. If you do not like

bed there would be a lot of floats

in every row but I can think of some
very interesting uses for it espe
cially with geometric patterns which
have blocks of single colours that
are not repeated again across the
row. A type of automatic Intarsia?

INDIVIDUAL STITCH EDITING

TO GARMENT PATIERNS
This is a facility that has been
included in the 'Overlay' menu. It
can be used to adjust the garment
shaping, useful for finely tuning the
necklines and armhole shaping, but
should not be used to 'cut out' sec
tions within the garment piece.
I found it quite useful to 'Zoom'
in on the garment piece before
trying to adjust it.

it, you can try again with a differ

ent part of the image or with a dif
ferent size grid. It is important to
realise that the smaller you set the
grid, the less definition will be
retained in the final motif. The
number of stitches and rows the
surrounded area will occupy on a
pixel for stitch ratio is shown at
the top right of the screen. This can
be used as a guide to the number
of stitches and rows to propor
tionally scale the area down by.
Another alternative is to capture
an area and halve it, then move
and reduce the box to surround the
scaled down version and save that.
Tidy Scan is great fun for playing
with (and distorting) scanned images!
If you have not sent for your

SINGLE MOTIF PROBLEMS

explaining the adjustments here.

In this series I shall be helping you

SINKER POSTS

to m-ercome some of the challenges

Another peculiarity of Japanese

that can be encountered when

machines is the correct alignment

machine knitting. I would like to

of the sinker posts or gate pegs. If

take this opportunity to invite you

you look along them from one end

to write in (\ia our editorial address

of the machine, you will be able

please) with any problems you

to see which ones - if any - are

may be having. no matter what

out of alignment. If any need re

make or model and through this

aligning they will cause uneven

column. I will endeavour to give

stitch tension and any that are par

\'OU the answer. For this first arti

ticularly bad can cause dropped

cle I shall look at some of the faults

stitches or the loop between the

\\'hir.h can lead to poor results

stitches to catch on the sinker post,

\\'hen doing single motif patterns.

TENSION MASTS
The first check is to ensure that

which causes the stitches either

side to pucker up. To straighten
any that are bent, use a flat bladed
screwdri\'8r to either le\'8r the post

the tension cups move freely and

outwards or push them inwards.

do not stick when they are opened

In both cases, carry out the oper

fully and allowed to snap closed.

ation gently and with just suffi

If the\ show any signs of sticking.

r.ient pressure to do the job. If you

\'OU \\'ill need to clean them as

get too enthusiastic you could snap

shown in 'Knitting Machine Main

the post right off!

tenance'.
'.\ext. make sure that the tension
is correct for the yarn you are using.

BRUSH WHEELS
I shall deal with this subject in

Thrnad the two colours through

detail next month, but at this stage

the respecti\e sides of the tension

I will just say that you must ensure

unit and clip the ends on to the

that the brush wheels are turning

\arn holders on the mast. Pull the

freely and are in good condition.

cone end of the yarns back until

If thev are not spinning properly

the e\'8lets on the \\ires are pulled

they will get damaged and will

dmrn as far as they \\'ill go. Let go

cause looping. esper.ially of the

of the \ arn and watch to see how

second colour, when you change

far. if at all. the eyelets rise up.

The correct tension is achie\'ed

the direction of the knitting at the

end of the row. Incidentally, if the

by adjusting the knobs on the cup

sinker plates are too close to the

assembly (further fof\\'ard on Singer

sinker posts. once again the wheel

machines) until the eyelets rise

brushes will get damaged and loop

slo\\'h and stop about three to four

ing will occur.

inches abo\'e the le\'81 of the front

of the main arm. Re-check the ten

Nex1 month. I will discuss wheel

brush problems.

sion if need be when \'OU com

mence knitting.

SINKER PLATES

Any queries on any aspect of the

working, senricing, maintenance
or faults nith any make or model

This section. of course, only applies

of machine, should be addressed

to Japanese machines. It is vital

to Peter Free and sent to - Machine

that the sinker plates are properly

Knit Today. 61 Daffodil Court, Ty

Canol. C11mbran, G1rnnt NP44 5/G

adjusted. otherwise you may expe

rience certain challenges trying to

Knitting Machine Maintenance

get good results from this tech

- the book and the i7deo are avail

latest additions to the program.

nique as well as others.

able together at a special offer price

symbols (the computer assigns a

You will need to ensure that the

of 13.95 incl p&p,. Send cheque/PO

I will leave you now to start on the

character to each colour) as well as

sinker plates are tJ-,e correct height

made payable to Lithame Ltd (ster

latest version ofDesignaKnit which

as well as the right distance from

ling cheques only please) to Video

also includes a link to Silver Reed

the sinkers or gate pegs. This is

and Magazine Offer. Lithame Ltd,

machines.

especialh \'ital if. at any time. you

PO Box 9, Stratford-upon-Avon,

accidentalh drop your carriage on

l\'amickshire C\'37 BRS.

PRINTOUTS
The options now added to the
original ones are motifs printed as

graphically (represented by grey

shades). 'Garment Colour Plan'
which prints out a panel with

update yet, I suggest that you do

so that you can make use of these

Full details next time.

27

Using the Marion Nelson Cards

The idea for the pattern-cards

see Thelma Vintners comments in

stemmed from requests from pupils,

'Maxi-Motifs' on page 39) which

sleeve, drop sleeve and cardigan

friends of pupils and friends of

provide easy format designs for

styles. All these variations are given

friends, for more of the easily fol

stocking stitch garments. As they

in 2 ply, 3 ply, 4 ply and double

lowed designs thatMarion had pro

are simple to follow and easily

knitting yarn thicknesses.

vided for her students. From the

adapted for a variety of patterning

simple beginnings of hand drawn

and other uses, each month, we'll

diagrams and a raglan, then a 4 ply

take a closer look at their poten

collection, the card system slowly

tial. This month we start with an

but surely began to take shape. The

overall description of what is avail

more knitters saw and used them,

able and how the system works.

the more requests went back for

different shapes, gauges, sizes and

AVAILABLE SETS

styles. Despite a couple of house

The complete range available is

moves -London to Wales, to Wilt

shire - semi-retirement and relin
quishing the day to day work of
distribution, Marion still takes an
active interest in her cards and
designs. So what is this wonder

28"

all shapes and styles, children's

garments and skirts. As it will be
useful for future reference, the set
names and contents are:

fully adaptable knitter's resource?

TIIB COMPLETE SWEATER SET:

The Marim Nelson cards are an

Size range from 46cm-1 22cm

enormous library of basic garment

(18-48 inch), with raglan, sleeve

patterns suitable for all Japanese

less and set in sleeve styles. There

machines (and others if the same

is also a choice of neckline shapes

or similar tension is achieved -

-"-- 'V', round and 'U' and a guide

DROPPED SHOULDER SWEATER

SITT: Size range from 46cm-122cm
(18-48 inch). This set is exclu
sively for 4 ply yarns, with a choice
of round or 'V' necklines and a
cardigan conversion guide.
SADDLE SHOULDER SWEATER
SITT: Size range from 61cm-122cm
(24-48 inch). Patterns are given
for round or 'V' neckline styles
in 2 ply, 3 ply, 4 ply and double
knitting.
SIDEWAYS KNITTED SWEATERS:
Size range from 76cm-122cm
(30-48 inch). Patterns are given
for 'standard' and dolman sleeves
with a choice of round or 'V' neck
lines. Yarns used are 2 ply, 3 ply,
4 ply and double knitting.
CIRCULAR YOKE SWEATERS:

TO SELECT THE CORRECT CARD

....--- CHECK THIS

51ZE:71

tremendous, covering sweaters in

for converting the designs for short

CHECK THIS

SET-IN SLEEVE

------

Size range from 6 1cm-122cm

Tension dial:
stitches:7
rows:10

(24-48 inch). Styles include cardi

gans, ribbed yokes, 'standard' and
sideways worked yokes. Tensions
given for 2 ply, 3 ply and 4 ply
yarns.

-5

-63X

R 38

(.)
I()

!fb

-8
-

(.)
I()
v

-3
-5

TIIB CHILDREN'S COLLECTION:

There are two sets here, both size
ranged from 56cm-76cm (22-30

inch) chest. They both contain the

(.)

same variety of styles, including a

......

hooded jacket, dressing gown, dun

1fo

garees, T-shirt, track suit and dif

i./

11
. lJ

285cm
80 sts

15

3 8 cm

1 A/R 5 X

-22
;.,, 40

"

ferent dress styles (to name a few!).

One set is for use with 4 ply yarns

and the other for double knitting.

106 sts

THE COMPLETE SKIRT SET:

Caters for hip sizes from 36 to 50

(J
(X)
('II

u
(")
N

Ki 24

inches and are made to a standard

length of 27 inches (which is easily

E. 24

(.)C\I
I()

II)

cast on 106

sts

adapted to your needs). Styles

include straight and panelled skirts,

cast on

54

sts

Card No. 151

sideways, ribbed and pleated skirts.

There is a wide variety of tension
gauges given to cover different
weights of yarn.

CHUNKY DESIGNS
The chunky knitter has not been
forgotten and there

are

four 'Chunky

Sweater' sets with round cit 'V'

necklines in specific tension gauges.

Set 1 uses a tension of 14 sts and

20 rows to lOcm; Set 2 uses 16 sts
and 23 rows to lOcm; Set 3 uses 18
0
sts and 27 rows to lOcm and finally,
Set 4 uses 20 sts and 30 rows to

lOcm - giving a wide choice of

chunky yarns for knitting.
In addition to the basic sweaters

there is also a pack of 'Sideways

Knitted Sweaters' (sized 76cm-

122cm over the same tension range

as the four sweater sets - com
bined into one!) and 'Circular Yoke

Sweaters' - this time sizes 61cm122cm.

INSTRUCTIONS FOR USE

When you open your pack, you
will find a set of index sized cards.
Those at the very front of the box
should be very carefully looked
after as they are the basic instruc
tions on how to use the cards, what
adaptations can be readily made,
how to select neckline styles and
working the tension swatch - plus,
depending on the set, ideas for pat
terning and trimming. Each set also
contains sample patterns - where
the instructions are fully written
out with explanatory notes - check

these alongside the diagrammatic

patterns given for the range of

shapes, sizes and yarns and you
will see how easy it is to follow
them. Further notes on shaping
techniques, working the neckbands
and measurement charts are also
enclosed.

can easily select a larger size from

to 000. So after the welt, turn the

an addition may affect the length

the measurements given on each

very slightly, but as a small border,

card (see the illustrated card for

RC to 000 and use your main ten

the basic measurement and half

using one of the patterns from this

ence to worry about. TD was

the finished measurement). For

month's stitch library. It started

increased by a whole number

instance, if you are a 91cm bust

two rows after the welt ended. Such

whilst knitting the Fair Isle and

there will not be sufficient differ

sion. (We added a Fair Isle border,

and like 10--12 cm ease, then look

for the card design with a width
measurement of approximately
50.5-51.5cm and work from this
one (more subtle sizing changes
will be covered in later articles).

KNITTING FROM THE CARD

Once you have worked your ten
sion swatch, check that it matches
the tension given. Our example
was worked in Bramwell's 4 ply
acrylic - but an alternative means
of achieving the yarn thickness and
correct tension could be to strand
finer yarns. Our 4 ply knitted to
give 28 sts and 40 rows to lOcm.
Divide this number by 4

7 sts

and 10 rows per 2.5cm/inch meeting the required tension for

the pattern (see card).
You choose your welt style.
Advice on selecting welts is given

CHOOSING THE SIZE

in the front information cards. Our

The card shown was used to knit

example requires 106 sts to be cast

our child's set in sleeve sweater.

on - although you can make this

Taken from 'The Complete Sweater

Set' to fit a 71cm chest with a 5cm

an odd number if you want to work

ease. The amount of ease given for

work the 24 row rib, transfer to

most shapes is 5cm, making them

main bed and inc 1 st. This way

a slim fit pattern for adults -

you end up with the 106 sts you

although this is a commonly used

need.

a 1x1 rib - i.e. cast on 105 sts,

ease for children's garments still.

The row counter checks are

However, if you want the current

given at the left edge of the card

easier fit in adult's garments you

and after every stage you return it

DESIGNAKNIT 5
The Ultimate Design Tool for Designers
and Knitters -Version 5 is here!
* SHAPES* COLOUR PATTERNS* PRINTOUTS* CABLE LINKS*

Eve ryth ing in 1 program - Simple to use because

it all works together

New Features
include:
On-Screen Knitting, Standard
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throughout
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Standard ....... .. ....... ............ 119.50
CABLE LINKS to: Brother 930. 940.

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950i, 965, PPD: Silver Reed

electronic machines and
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Demonstration disk
(redeemable)... ......... .......... .10.00

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Prices include: VAT, Postage, On Screen Tutorial and Helpline. For IBM compatible
computers with EGA/VGA screen. Courses and Complete Computer systems available

Available from good Knitting Machine Stockists

Send for details to:

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Quarry Lane, Nantmawr, Oswestry,

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Tel: 0691 828556 Fax: 0691 828195

VISA

USA Knitking 213 938 2077 Canada 604 658 8162 South Afri ca 21 962536
Sweden 08 35 0022 Holland Dutch & German versions: 03402 50401

29

returned to MT once the border

shaping. For a round neck style

was complete). Knit to RC 90.

start the shaping when RC shows

The armhole shaping (clifections

38. Again only half the shaping fig

marked at right of the card) starts

ures are given, so the '-8' at the

at this point. Reset the row counter

centre means 8 sts to left and 8 sts

to 000 again. The '-5' means cast

to right of centre 'O' should be cast

off 5 sts at the beginning of the next

off-a total of16 sts in the centre.

2 rows. '-3' means cast off 3 sts at

beg of next 2 rows. The instruc

THE LEARNING CURVE

tions give you the details for one

IT you follow through the example

side and leave you to follow

card and pattern directions from

through at the other side to keep

any of the card sets together, you

both armhole edges even. IT you

will be surprised how quickly you

want a 'V' neckline, then the shap

understand the diagrammatic abbre

ing for the front neck commences

viations. The cards will usually

at the same time as the armhole

clip to the tension mast, so that

they're right in front of you whilst

for the neckband! We also added

you work! Lack of text to read

a buttoning shoulder trim

makes the cards very easy to knit

tical addition, as not only does it

a prac

from and the options positively

link in with the rest of the garment,

encourage you to be more creative

but makes it easier for little fingers

and add little touches yourself.

IRRESISTIBLE ADDITIONS

(and 'big' heads - children's can

be surprisingly large) to get on and
off easily.

As you can see, we couldn't resist

----
---ra..c

adding our Fair Isle border after

Next month we'll take a closer

the welt plus a little pocket, with

look at selecting the size we want

a small section of the border on it

for the finished garment and some

and we even used the border again

simple variations on a basic theme.

.. t....,.a__.,.
.
...p:iifll* ,-Ill-

QXWL:ti

) J>.vJ" :Do

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Cb"te;\ th ao d.\ff-e
s\-

- \< p,f\ : Sot" W- """ \\ hoN-e.

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- Mfilll!'+Ml'$i.JI G?W'!\!!1111JM.---:P>
L-:IW;i...!1
30

Library .....
Build up your Stitch
Library- pull out and
keep section with ideas
for ALL machines
Something for everyone every month in our special pull out
and keep Stitch Library. This month we are concentrating on
Fair Isle designs with a mostly geometric feel which work very
effectively in strong clear colours. Most have short floats,
ma king them eminently suitable for all-over patterning.
Virtually all the patterns can be knitted on a 24 stitch punch
card machine and we have even included some for 12 or 60
stitch patterning systems, and one specially for the Duo machine
(although many can be readily adapted for this system).
Diagrams are given for each pattern and where simple and
effective adaptations in stitch style, colour changes, repeat
system or knitting method are possible, then all those details
are included.

31

32

'BUILDING BLOCKS'

'SQUIGGLES'
Pattern 'A' 24 stitches x 60 rows

Pattern 'B' 12 stitches x 12 rows

knit this one. Try it out in toning shades of the same colour such as

article, page 28), multi-coloured all-over Fair Isle (what a stunning way

High contrast colo.urs for casual fun wear is how we have chosen to

coffee on cream, for a highly sophisticated look.

Suitable Adaptations:

1. To a 20 stitch repeat for use on 40 st (Passap/Pfaff) or 60 st (Singer)

pattern repeat system. Try eliminating the first and last stitch, plus

stitches 12 and 13. The result may need just a little simple 'cleaning

up', but with minimal effort a similar effect to that shown could be

achieved.

2. Electronic machines, try a mirror imaged repeat for a fascinating

puzzle like design.

Useful for borders (see the child's garment in the Adapt-a-Pattern

to use up small amounts of leftover yarns) or toned down a little for a

simple pattern suitable for men's wear.
Suitable Adaptations:

1. 24 stitch or electronic machines. Double the width and height of

the 'boxes'. Longer floats (8 stitches maximum, not too much of a prob

lem for adult's garments) will result but the effect is even more dra
matic. Combine sections of 'doubled' pattern with sections the size

already given for a variety of effects.

Note: Electronic machines with ribber and colour changer could

work the doubled version in double Jacquard, thus eliminating any

float problems.

2. The look of this pattern is readily adapted for Duo systems, simply
use the idea to draw boxes into a 40 stitch width repeat. Making the
boxes larger, say 8 stitches x 8 rows and leaving a 2 stitch gap between

them, would give you four repeats across the card.

'DOODLES'
Pattern 'C' 24 stitches x 36 rows

Highly eye-catching in our bright colour combinations.

Suitable Adaptations:

1. A counter change pattern would work well. Punch the pattern as

shown, just one repeat, then for the second repeat, move the pattern
across the card by 12 stitches and punch a second repeat. This will

make the overall repeat quite long so that the resultant effect will be
intricate and bold.

2. Electronic machines can do the same thing without drawing the

pattern twice. Use the appropriate buttons or Nl cam to place the first

repeat to start 12 sts to L of centre 'O' and the second repeat on the first

st to R of centre 'O'.

33

'TUMBLING BLOCKS'

'POP ART'

Pattern 'D' 24 stitches x 25 rows

Pattern 'F' 24 stitches x 44 rows

There is the odd long float in this pattern, but it could be hooked on

Three variations have been shown. The basic one is the pattern exactly

to a central N during the knitting if desired. A useful stitch for all ages.
Suitable Adaptations:

as per the chart. The second swatch has been counterchanged over 24
stitches (as suggested for Pattern CJ. Using an electronic machine, the

1. Size changes could easily be made on an electronic by doubling

counterchanged pattern has been mirror imaged and then used as an

the width and the height of the pattern. Floats can be eliminated if

all-over design. All the versions are very dramatic and unusual.

double Jacquard is used.

2. Flashes of other bright colours could be introduced by the use of

Swiss darning once the knitting is complete.

'CHEQUERBOARD 2'
'CHEQUERBOARD 1'

Pattern 'G' 24 stitches x 32 rows

Pattern 'E' 24 stitches x 32 rows

The first chequerboard pattern worked on the garter carriage sug

Two variations have been shown. It works well as a bright very short
floated Fair Isle design, but looks absolutely stunning

as

a garter car

gested this variation, in which the originally vertical sections have been
turned horizontally. The Fair Isle version results in longer floats than

riage design in one colour. To keep the apparent movement of stitches

its predecessor, whilst the garter carriage version has a very different

within the work (where the vertical rib sections pull in) do not press

look. Where the first version had vertical ribs, this one achieves hori

the finished work. Only the lightest steaming should be used, so the

zontal garter stitch stripes. This doesn't affect the stitch movement

stitches are allowed to keep their natural 'give'.

much as its predecessor, so the results could be pressed if desired.

34

as

'ZIGGY DIAMOND'
Pattern 'H' 12 stitches x 7 rows

'TRADITIONAL PATCHWORK'
Pattern 'K' 24 stitches x 24 rows

An excellent small repeating pattern, which in a range of colour vari

Based on a traditional quilted patchwork design, this can be used

ations would work well for all ages. The floats are small enough to be

for garments or furnishings. On every 24th row the contrast colour is

suited to baby wear where it would look pretty if worked in traditional

carried right across the back of the work. Allow it to do so and finish

soft pastel contrasts. At the other end of the scale, it is formal enough

it later, by cutting the float and darning it in at each edge.

to suit the most conservative male in toning colours.

Suitable Adaptations:
1. For 24 stitch or electronic machines, the repeat could be mirror

imaged. This will give wider vertical panels of patterning, but still forms
an interesting pattern.

'ARCHES AND SCRIBBLES'

Pattern 'I' 24 stitches x 30 rows

Quite a bold effect is obtained when colourful contrasting colours

are chosen. However, this is another pattern which gains classy sub
tlety in soft toning colour combinations. Try it out in two lightly brushed
yams and brush them again when the knitting is complete.

'RIPPLES'
Pattern 'J' 24 stitches x 12 rows

One of our favourites, this deceptively simple design has many poten
tial uses. It would make an unusual background filler pattern, follow

'PATCHWORK STAR'
Pattern 'L' 24 stitches x 24 rows

Another pattern based on traditional quilting, with a few extra details

added to minimise long floats. See comments for pattern 'K'.

ing a bold border of another design.

Suitable Adaptations:
1. Try it as a garter stitch design, as it is and with the punchcard set
for elongation.
2. For Duo machines. Make it into a 20 stitch repeat (so 2 repeats will
fit across the card), by eliminating 2 stitches at the far right, plus 4th
and 11th stitch from left. Alternatively, more wave 'ripples' could be
added in.

35

'DIAMOND Vs'

'CANDY STICKS'
Pattern 'M'

12 stitches x 52 rows

Pattern 'O' 24 stitches x 24 rows

An easy but unusual vertical pattern with small floats, so it is another

In some ways this is perhaps one of the most formal or sophisticated

appropriate for little fingers. As with any of the 12 stitch repeats, it can

patterns (depending on your point of view). It seems most appropriate

be drawn 5 times across a 60 stitch card - making it suitable for some

for adult patterns and can appear quite dramatic - if you have a punch

of the Singer models. Vertical lines are often popular for men's wear,

card chunky, it looks sensational in the appropriately bolder yarns!

so this could also find a useful place in sets for 'him'.

Suitable Adaptations:
1. Electronic machine owners have so many facilities at their
fingertips to change or amend patterns, but try this out vertically mirror
imaged, then, go on and try a counter change of the mirror image
version.

'DUO DIAMOND Vs'

Pattern 'P' 40 stitches x 24 rows
This seemed to lend itself to a 40 stitch version, so Duo owners, here
is one already redesigned for you. The swatched version was worked
in double Jacquard thus:

Full needle rib setting using Bramwell's Duomagic. BX/N, Larrow

in on FB, selection dial 4.
Obviously the many different knitting techniques that can be used
to produce Jacquard patterns will give many variations to the appear
ance of the fabric. I can visualise this as a looped fabric quite easily.
We hope that you enjoy this month's pattern selection. Next month,
the theme is definitely spring, with many ideas for appropriate stitch

'WELLIES'

designs.

Pattern 'N' 24 stitches x 25 rows

The name of the pattern comes from the hollow L-shaped sections,
which in certain colours reminded us of Wellington boots! Its possible
variations and usage would be similar to those already given for
pattern D.

A SELECTION OF SHADES FROM BRAMWELL'S

FINE 4 PLY ACRYLIC AND DUOMAGIC
WERE USED TO KNIT THE SAMPLES
36

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Wed: 9.00am - 7.00pm

Thur: 9.00am - 7.00pm

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37

38

Maxi {large) motifs can be worked

in many different ways and have

a multitude of uses. In this series,

XI

we will be presenting exciting and

original designs, together with a
wealth of ideas and techniques for
reproducing them on yourknitwear.
Thelma's original patterns were
knitted using her Singer 2310

which will be of value to all

machine owners, whether you have
the simplest or the most sophisti
cated model. So, start collecting
the patterns-and enjoy Thelma's
background and technique details
this month.

FROM IDEA TO ZODIAC

PATTERN
Some time ago, I started thinking
about and looking at different styles
of Zodiac signs and the idea came

with exclusive Zodiac Designs by Thelma Vintner

machine, but don't 'switch off if

this isn't your make and model as
there are fabric and design tips
here and more techniques to come

cope with the pattern width 'auto

SINGER JACQUARD KNITTING TIPS

matically', the process gets quicker

as you gain experience and is not

I used Jacquard Method 3 (VI).

difficult. Needless to say, the hand

Beds -

Front Bed normal position

Flow Combs alternate

selection method means the knit

Spacing 3

ted motif comes out in the oppo

site direction to the graph and so

Set needles for FNR, starting and ending with a BB needle.

too does the sign name! So my first

Back Carriage - KNIT key and JACQUARD button in together.

Needle return buttons up.

attempt had its name back to front.

Note that finished patterns have

Front Carriage

KNIT key only. Needle return buttons neutral

been given for the names both ways

(middle)

-so that you can read them (these

Needle selection buttons down.

patterns can be used for electron

ics

which

can

invert

CAR. Second yam guide threaded.

them

to me to create a set of them for the

very young - which may also
appeal to the not so young! I pre
determined the knitting width of
a motif would be approximately
seven and a half to eight inches.
In the light of that decision, I drew
the signs to fit proportioned graph
paper, limiting them to 56 stitches
wide and 78 rows high - think
ing at first they would be specifi
cally designed for my Singer 2310.
Halfway through sketching, I
thought why not add the name of
each sign, so chose or created a let
tering style which seemed appro
priate for each. The next stage was
to photocopy a blank pattern card
and pencil in the motif.

CHECKING KNITTING THE

DESIGNS MANUAllY
Before using the pencilled motifs
to produce an electronic card
(which is expensive and time con
suming to complete -especially
when experimenting) I tried out
the pattern manually. Working in
double Jacquard and following my
charted pattern-{Japanese single

bed owners can use the following

technique: reference to back bed
can be ignored, use your main bed
and set carriage for Fair Isle knit
ting)- I brought back bed needles
forward to upper working position
- ensuring the stitches remained
in the latches - and then com
pleted the row. It is slow using this
method, but enabled me to see
where pattern modifications needed
to be made before investing fur
ther time in making the pattern
card. However, if you are only likely
to be making one of the designs,
or have a machine which won't

39

10

'I
,,

6d r
?

'

)4S:?
50

6.
5

;'

51
40
d
4:
44 !:
41
40 ;
38
i:
J)
31
31
3C 19
11
1s

i:

zc

18
16
'4
11
10
8

li

l
:3 .
21
:i .
13
\

.
7

5
J
I

Japanese electronic version

weights needed to balance. Either

of these styles proved ideal:
1. Hem: If working in 2/30s, take

position and using T2/2 knit

a length of yarn off the cone, suf

ficient for the cast on row and
thread it together with the yarn

required rib depth. When you are

ready to commence the Jacquard
pattern, bring empty needles to WP

from the cone. Arrange needles for

full needle rib and with CAR, use
2 strands of MC and Tl/1 for the

either end on FB. Tl/1, set for cir

cular knitting and knit 2 rows. Break

cast on row. Continue with 1 strand

only, carriages set for circular knit

off strand from ball and set up and

continue in Jacquard pattern.

ting and knit as many rows as

desired for hem depth.
2. 2x2 'Industrial' rib: Wind off
a small ball from cone and thread

automatically) or inverted (for

fasten the second yarn at the right

hand machine clamp and bring the
first needle at the right forward, almost

YARN AND TENSIONS

I used Bramwell's 2/30s Acrylic,
which gave me 29 sts and 41 rows
to lOcm - after pulling the work

to upper working position. Ensur

ing the stitch is still on the latch, take
the second yarn and wind it clock
wise round this needle-this ensures

lengthwise and allowing it to rest

for at least 12 hours - counting
sts on BB only. (Singer owners my tension dials were sets at 3/5;

the the needles knit the second yarn

and it only needs to be done on this
first row. Claw weights are essep.tial

yarn mast approx 6).

Make sure the machine and carriages are clean before commencing

moved up every 12 rows otherwise

yqu could 'lose' sts at the edges of

knitting. If during knitting the car

bed needles with the second colour

could be a 'hit and miss' affair.

riages become hard to push across,

oil the needle butts again because
some of the oil is lost during knit

for Jacquard knitting and should be

the work and the knitting of the front

WELT OPTIONS

ting (especially when hand select

ing). Before commencing Jacquard

As I was going to use double

knitting and for the first row only,

knitting, the welt and main fabric

40

Jacquard in a fine yarn for the main

on both beds, plus 1 extra stitch at

USING THE DESIGNS

If you check out the Marion Nelson

cards, you will find that my

shown in Diagram 1-noting posi

Jacquard tension isn't too far away

from the 4 ply patterns - only by
one stitch and row (remember I'm
counting BB stitches only). For an

tion of end needles. CAR. Using

Tl/1 cast on and K2 rows circular.

easy fitting style (a drop shoulder

style gives a good 'canvas' to show

Push 1 extra needle at left on BB

to WP and transfer marked st from

off the designs) this could be very

acceptable - choose a finished

1 strand from ball and one from

cone together through tension mast
and feeder. Arrange needles as

manual working).

FB (see diagram) on to it. Push

empty FB needle to non-working

measurement bigger than you

actually need-see the Adapt- a
Pattem feature on page 28 and add
in one extra row for every 40 given
in the instructions to match the
length. Neck shaping could be
worked using cut and sew.

OTHER ELECTRONIC
MACHINES
The Capricorn pattern has been

DIAGRAM 1

although finished sizing will obvi

Main knitting

Cast on

I I I 11 I I I I I I I I I I I I I I
11 1 l l l l I
I I I I I 11 I I

ness and technique used for the

knitting.

Rep

Rep

ously depend upon the yarn thick

Next month, Thelma presents

Cancer, Gemini and Taurus and

reproduced as a mylar sheet pat

You should find the results

tips on shaping in Jacquard on

tern, showing there is very little

satisfactory for all the signs and

Singer machines. In addition, we

difference in proportions between

lettering if you use them from

will be looking at ways of knitting

the Singer or other electronic motifs.

the Singer electronic charts -

the designs on Japanese machines.

>=
=
-

----- =D

41

Recently I met a lady who proudly

carriage can still be left for long

told me that she could do four jobs

periods to knit on its own.

at once. "The washing machine

does my laundry, the garter car

SPEEDY SHAPING TIPS

riage does my knitting, whilst I

When I use the garter carriage to

embroider and watch television''.

knit a round necked jumper, this

Clearly she was very organised, but

is how I plan the knitting. I like to

we could all strive to do more with

cast on and knit welts using fewer

our free time, especially when it

stitches than I need for the main

is limited by job or family com

body of the front and back of a gar

mitments. Garter carriage owners

ment. After the welt has been knit

have a wonderful labour-saving

ted, I remove the stitches on to

piece of equipment which allows

waste yarn and then rehang them,

us to do other things while it gets

on with the knitting. How to

increasing stitches along the row.

I make my welts 10% smaller than

manage the garter carriage and get

the main part. (Example: Main part

the best out of it, is what I would

like to discuss.

This method is especially good

YOU DON'T WATCH THE

COOKER

150 sts, deduct 15 sts for welt).

when knitting with yarns that are

not very elastic, like cotton. The
garter carriage can be left to knit

The key word to remember when

until the armhole shaping.Simple

using your garter carriage is plan

armhole shaping does not take very

ning, planning your time and plan

ning your garment. Just as you

working the shaping at both ends

long to do. It can be speeded up by

would not put a cake in the oven

of the work at the same time. Use

and then sit watching the cooker

a spare length of yarn to work

for the whole time it was baking,

decreases at the end opposite to

so planning when to start the garter

the carriage when more than one

carriage is a rather important part

stitch is being cast off. After shap

of using it successfully. Start a ten

ing has been completed, the garter

sion swatch or other straight knit

carriage can be left again until the

ting before you go off to work or

shoulders. "What about the neck

start preparing a meal. This may

shaping?" you may ask. A cut and

mean getting everything set up the

sew neckline will be worked after

day (or night) before, but how sat

the knitting is completed. Neck

isfying to return to your workroom

shaping is slow and resetting the

and find a completed swatch or

punchcard or mylar sheet to com

part of a garment, ready for you to

plete the second side of the knit

get on to the next part of your work.

ting can be a bit fiddly. When the

When you must stay near the garter

knitting has been completed, place

carriage to do shaping, try to find

markers for the neck edge stitches

other knitting jobs to work on while

and then remove the work on to

the garter carriage is moving.Save

waste yarn. Shoulder stitches can

some of your making up to do at

be grafted or rehung and then cast

this point. Punch out the next card

off. Either method gives a neat,

you would like to try. Or perhaps

smooth finish to the shoulder line.

sort out the yarn cupboard! You

could use the time to plan the fastest

MINIMISE SLEEVE SHAPING

way to knit the next garment. The

I am afraid that I have not found a

simple dropped shoulder, slashed

way to produce shaped sleeves on

neck jumper may be the quickest

the garter carriage without stop

thing to knit using the garter car

ping and increasing stitches every

riage, but it can be rather unflat

few rows. What I try to do is

tering to the wearer and not always

increase the number of rows

suitable. If shaping is done in small

between increases. Suppose my

but effective ways, the garter

original pattern started with 60

stitches and by the end of the shap

all row tension is to knit a swatch

ing, there were 100 stitches in work

with at least two repeats of the com

position. The garter carriage would

plete pattern. Measure the tension

have had to stop

20

times for me

swatch length. Then divide this

to increase stitches. But if I had

figure into the number of rows knit

started with

80

stitches, then it

would only need to stop 10 times

to reach the

100

stitch total. The

cuff needs to be close fitting. I

would knit the sleeve first, start

ted to give the number of rows per

centimetre.

FINISHING TOUCHES
Don't feel that the garter carriage

ing with waste yarn. Then rehang

must be used for whole garments.

the first row of stitches, decreas

It can also be used to produce

ing evenly along the row to give

unusual hems or edgings. Card 2

the required number of stitches for

from the basic set for the garter car

the cuff. Knit the rib and then cast

riage produces a neat flat hem

off loosely. Shaping at the sleeve

which will not roll (Sample

1).

top would be as described for the

Card 1 which accompanies the knit

armholes, casting off at both ends

ting machine produces moss stitch

of the row.

(Sample

2) which can be used for

firm edgings. By elongating the

ELIMINATE WHAT YOU CAN

For children's and baby's garments,
try to re-plan the knitting to elim
inate side seams. Jackets, cardi
gans, dress bodices and the like
can be knitted up to the armholes
in one piece. Remove the fronts on
to waste yarn and complete the
back, then work each front sepa
rately. Instead of casting on three
times, you only need to do it once.
The garments are far less bulky and
making up time is reduced.

COMBINE PATIERNS
Another way to speed up knitting
time is to combine different stitch
patterns with garter patterns. Fair
Isle, lace or weaving combine well
with garter stitch patterns. The
man's Fair Isle and garter stitch
jumper which was featured last
month shows how effective this
mix can be. Areas of stocking stitch
combined with garter stitch can
also produce interesting garments.
A yoke or hem done in garter stitch
with the remainder of the garment

card a double moss stitch is cre

ated (Sample 3). These three stitch

patterns can be used for collars,
front bands and neck edging. The
remainder of the garment can be
any stitch pattern.

PATIERN SOURCES
Finally, if you are looking for new
patterns for your garter carriage,
look over your stock of punchcard
designs. Those designed for tuck
stitch or punch lace can often be
very successful as a garter pattern.
Fair Isle patterns can transfer well,
especially those with large blank
areas within them. Sample 4 is a
Fair Isle pattern which was used
for a man's waistcoat in the April

1991 issue of Profitable Machine

Knitting. Sample 5 shows how it
looks as a garter pattern using the
elongation switch. Sample 6 shows
the same design but redrawn to
double its width. Sample 7 shows
the redrawn pattern but using the
elongation switch.
I hope I have been able to help the

knitted in stocking stitch is rela

garter carriage owner. Just like all

tively quick to knit and not as over

other types of knitting, there is no

powering as a complete garment

single way to do things. If you have

knitted in garter stitch. If you plan

found an easier way to solve any

to combine stitch patterns, pay par

garter carriage problem, I am sure

ticular attention to tension. The

the editor and readers would

easiest way to calculate the over-

appreciate hearing from you.

GLENFYNE

27WHITE
39 BEIGE
18 NAVY
21 RED
17ROYAL
7SCHOOL GREY
5 PEAT BROWN
43 HEATHER PINK
36 HEATHER BLUE
33 HEATHER PURPLE

PLUS

23 PINK
25 CREAM
6 SILVER
13 BOTTLE
40 HEATHER GREEN

28 SAXE

48 JADE

9 BLACK
22 BURGUNDY
42 LARCH

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I I I I I I

I I I

SIGNATURE

43

SIZES
JACKET
To suit bust 86[91:96:101:106]cm.
Finished measurement 104[110:116:
120:124Jcm.
Length 71[71 :73:73:75Jcm.
Sleeve seam 46cm.

SKIRT
To suit hip 91[96:101:106:112]cm.
Finished measurement 94[98:104:
110:114Jcm.
Length 57[59:62:64:67]cm.
Figures in square brackets [ ] refer to
larger sizes; where there is only one set
of figures, this applies to all sizes.

MATERIALS
Many A Mickle Machine Washable 4 ply.
800(900:1000:1100:1200]g cone in
MC.
100g in each of A, B and C.
6 buttons.
2.5cm wide elastic to fit waist
measurement.

MAIN TENSIONS
Note: Both swatches should be washed
and allowed to dry before measuring.
32 sis and 32 rows to 1 Ocm measured
over Fair Isle patt (tension dial approx
9=MT).
32 sts and 37 rows to 10cm (see Spe
cial note) measured over cable pall (ten
sion dial approx 7/5=MT-2/MT-4)
Tensions must be matched exactly
before starting garment.

Lady1s Cable and

Fair Isle Suit
MACHINES: These instructions are written for standard gauge
punchcard machines with ribber
YARN Many A Mickle Machine Washable 4 ply wool
FIBRE CONTENT: 100% Pure New Wool
COLOUR: We used Coral (MC}, Aran (A}, Fawn (BJ and Mink (CJ
S OCKISTS: To obtain this yarn, please write to Many A Mickle,
Bner Hey, Mytholmroyd, Hebden Bridge, W Yorks HX7 SPF

SPECIAL NOTE

row. Return marked Ns to NWP, leav

When using ribber to work cabled sec

ing loops which will enable cables to

tions, Ns on MB only counted through

be crossed with ease. Cable the Ns as

out, with Ns out of work on MB counted

shown in Diagram 1, crossing 3 sts at

as though they were in work.

Lover 3 sis at R. K1 row. These 10 rows

When inc or dee on cable sections keep

form cable pall and are rep as given in

the continuity of the pattern by trans

instructions.

ferring sts as required to or from the

RB. Weight the work carefully when RB
in use, using edge weights and moving

FAIR ISLE COLOUR SEQUENCE

Note: For easier and speedier knitting

them up frequently. It may be helpful

follow the sequence given, keeping yarn

to use the presser plates to ensure edge

in both feeders throughout. However,

stitches knit off easily.

on some rows only one colour will K

and the second colour will form a strand

CABLE PATIERN

across the back of the work - this can

K8 rows. Push marked Ns to WP. K1

be cut and darned in later.

Knit side is used as right side.

Measurements given are those of fin
ished garment and should not be used
to measure work on the machine.

PUNCHCARD PATIERN
Punch card before starting to knit.

c
c
c
c
c
c
c
c
c
c
c
c
c

MC

MC

MC

MC

MC

These 47 rows form patt and are rep

throughout.

JACKET
BACK
With RB in position set machine for 1x1
rib. Push 82[87:92:95:97] Ns at L and
83[88:93:96:98] Ns at R on MB and
corresponding Ns on RB to WP.
***Arrange Ns for 1x1 rib. CAR. Using
C, cast on and K3 tubular rows. Set RC
at 000. Using MT-7/MT-7, K2 rows.
Using MC, K until RC shows 22. Trans
at L. *166[176:186:192:198] sis. **Pitch

'H'. Transfer sis as shown in Diagram

Repeat

2, using the heel of an adjacent st to

ABBREVIATIONS

NOTE

Rows

MC

fer sts as shown in Diagram 1. Inc 1 st

DIAGRAM 1

MB

See page 50.

Feeder 2

Feeder 1

RB

PITCH p

shows 30. Set RB to pitch 'P'. Trans

Repeat

fer sts to MB. Using MC and MT-2, K1

c

ilfti

I I I I I ll I I I I l
lI I I I l illlli
1 : : 1111 1 lll
1
*
*

*;MARKED N

Set RC at 000 Using MT-2/MT-4, work

in cable patt (see patt note) until RC

DIAGRAM 2

PITCH 'H'

fill the empty RB Ns.

'O'

row. CAL Insert punchcard and lock

on first row. Set carr to selecVmemo
rise for pall and K1 row. Release punch
card. Set carr for Fair Isle and work in
Fair Isle colour patt as given for 47

C; CABLE GROUP

I; NIN WP

N IN NWP

rows. RC shows 79. Set carr for st st.

Using MC and MT-2, K1 row. CAR.

Arrange Ns and transfer sis as shown

in Diagram 1. Set pitch 'H'. Transfer sis
as shown in Diagram 2, using the heel
of an adjacent st to fill the empty RB
Ns. Hang comb and weights. Using
MT-2/MT-4, start and work in cable
patt** until RC shows 136(136:144:
144:152).
SHAPE ARMHOLES

Cast off 16 sts at beg of next 2 rows. K

until RC shows 240(240:248:248:256).
CAR. Set pitch 'P'. Transfer sis to MB.
Using MC, K sts through by hand all
along the row making long loops. Mark
st number 30 each side of centre 'O' to
denote neckline. Cast off using latch
tool.
POCKET LININGS
Work two alike

Push 52 Ns to WP. Using MC, cast on

using 'e' wrap.
Set RC at 000. Using MT-2, K58 rows.
WK.
LEFT FRONT

Work on Ns to L of centre 'O'.

With RB in position set machine for 1x1
rib. Push 83(88:93:96:99] Ns on MB
and corresponding Ns on RB to WP.
Push Ns 1 - 4 inclusive back to NWP.
79[84:89:92:95) Ns. Arrange Ns for
1x1 rib. CAR. Using C, cast on and K3
tubular rows.
Set RC at OOO. Using MT-7/MT-7, K2
rows. Using MC, K until RC shows 22.
Transfer sis as shown in Diagram 1.
Work as given for back from **until RC
shows 58.
PLACE POCKET LINING

Note punchcard patt row. Using nylon

cord, K15[18:20:22:23J sis at L and
16[18:21 :22:24) sts at R by hand taking
Ns down to NWP. Cont over rem centre
52 sts and WK. CAL. With wrong side
of pocket lining facing, hang sts held
on WY on to empty Ns. Remove WY.
Unravel nylon cord over sts to L and
R, bringing Ns down to WP. (All Ns in
WP). Lock punchcard on noted row.
CAL. Set carr to selecVmemorise with
out K and take to R. Reset RC at 58. Set
carr for Fair Isle, release punchcard and
work as given for back until RC shows
114(114:122:122:130).
SHAPE FRONT

Dec 1 st at front edge of next and every

foll 4th row 30 times in all. At the same
time when RC shows137[137:145:
145:153) (when RC shows 136[136:
144:144:152) for R front).
SHAPE ARMHOLE

Cast off 16 sts at beg of next row. When

neck dee complete 37[42:47:50:53] sis
rem. K until RC shows 240[240:
45

248:248:256). Set pitch 'P' and trans

Set RC at 000. Using MT-7/MT-7, K2

fer sis to MB. Using MC, K sis through

rows. Using MC, K3 rows. Work a 2 st

by hand all along the row.making long

buttonhole. K in MC, working button

holes when RC shows 32[32:33:33:34),
59[59:61 :61 :631. 86[86:89:89:92],

loops. Cast off using latch tool.

RIGHT FRONT

Mans Cable and

Fair Isle Sweater

Work on Ns to R of centre 'O'. Work as

given for L front, noting difference in

113(113:117:117:121], 140(140:145:
145:150] - 6 buttonholes in all. K
until RC shows 618(618:632:632:646].

MACHINES: These instructions are written for standard gauge

rows to reverse shaping.

Using C, K4 rows. Cast off.

punchcard machines with ribber

SLEEVES

TO MAKEUP

With RB in position set machine for 1x1

Neaten ends of Fair Isle sections on all

rib. Push 51 Ns at Land 52 Ns at R of

garment pieces. Sew pocket linings in

centre 'O' on MB and corresponding

place on inside of garment fronts and

Ns on RB to WP. Arrange Ns for 1x1

stitch bands down neatly on outside.

rib. CAR.Work as given for baci< to*.

104 sts. Work as given for back from

Join shoulder seams. Sew sleeves in

position with markers to shoulder seams

to
Atthe same time K3 rows. Inc
1 st at each end of next and every foll
4th row 34 times in all, K2 rows. Inc 1

and sewing straight edges of sleeve to

**

cast off sections at back and front. Allow

jacket band to relax for several hours

st at each end of next and every fol I 3rd

or overnight. Pin in position, with last

row 4 times in all. 180 sts. K until RC

buttonhole at start of neckline shaping.

shows 166. Pitch 'P'. Transfer sts to

Sew in position. Sew on buttons to cor

respond with buttonholes. Wash in

MB. Using MC, K sts through by hand

all along the row, making long loops.
Cast off using latch tool.

warm water and spin. Pull to correct

shape and smooth flat on a towel to dry.
SKIRT
Work two pieces alike
With RB in position set machine for 1 x1
rib. Push 74[77:82:87:90] Ns at Land
75[78:83:88:91 l Ns at R of centre 'O'
on MB and corresponding Ns on RB
to WP. Work as given for back from***
to* . 150(156:166:176:182] sts. Pitch

'H'. Transfer sts as shown in Diagram

2, using the heel of an adjacent st to fill
empty RB Ns.
Set RC at 000. Using MT-2/MT-4, work
in cable patt until RC shows 134[140:
152:160:170]. Dec both T by one dot
on next and every foll 5th row until RC
POCKET BANDS
With RB in position set machine for 1x1
rib. Push 26 Ns at Land 27 Ns at R of

shows 182(188:200:208:218]. CAR.

Pitch 'P'. Transfer sts to MB.
WAISTBAND

centre 'O' on MB and corresponding

Ns on RB to WP. Arrange Ns for 1x1
rib. CAR. Using MC, cast on and K3

Transfer every 4th st to its adjacent N,

pushing empty Ns to NWP. Using MT2, K12 rows. Using MT+1, K1 row.

tubular rows.
Using MT-7/MT-7, KS rows. Transfer
sis to MB. Dec 1 st. 52 sis. Using MT,

Using MT-2, K12 rows. Push out of

work Ns back to WP. Pulling a strand
of yarn back o empty Ns, K sis by hand

K1 row. CAL. With wrong side facing,

all along the row making long loops.

pick up pocket sis from below WY and

hang evenly along the row. Remove

Cast off using latch tool.

WY. Using MC and T10, K1 row. Cast

TO MAKEUP

off using latch tool.

Join sides and waistbands using an

JACKET BAND

invisible seam.
Fold band to inside along fold line and

With RB in position set machine for 1x1

slip stitch down, leaving an opening

rib. Push 9 Ns at Land 10 Ns at R of

for elastic.

centre o on MB and corresponding

Thread elastic through waistband, adjust

Ns on RB to WP. Arrange Ns for 1 x1

rib. CAR. Using C, cast on and K3

to fit and fasten off securely.

Close waistband opening. Wash and

tubular rows.

finish as given for jacket.

46

YARN: Forsell 4 ply Wool

FIBRE CONTENT' 100% Pure New Wool
COLOUR: We used Shade 100 Ivory (MC), Shade 114 Sahara (A),
Shade 110 Driftwood (BJ and Shade 105 Mink (CJ
STOCKISTS: If you have any difficulty in obtaining this yarn, please
write to r Forsell & Son Ltd, Blaby Road, South Wigston, Leics LEB 2SG
SIZES

to measure work on the machine.

To suit chest 96[101:107:112:11 ?]cm.

Finished measurement 106(112:118:
122:128Jcm.

See lady's cable and Fair Isle suit on

PATIERN NOTE

Length 66[67:68:69:70Jcm.

page 44 for punchcard, Fair Isle colour

Sleeve seam 49cm.

Figures in square brackets [ l refer to

sequence, cable pattern and needle

larger sizes; where there is only one

set of figures, this applies to all sizes.

arrangement diagrams.
BACK
With RB in position set machine for1x1

MATERIALS
Forsell 4 ply Wool.
1 x 500g cone in each of MC, A, B

rib. Push 81[86:90:94:98] Ns at Land

82[87:91 :95:99] Ns at R of centre 'O'
on MB and corresponding Ns on RB to

and C.

WP.Arrange Ns for 1x1 rib.CAR. Using

C, cast on and K3 tubular rows.

MAIN TENSIONS

Set RC at 000. Using MT-7/MT-7, K2

31 sts and 33 rows to 1 Ocm measured

over Fair Isle pall (tension dial approx

rows. Using MC, K until RC shows 36.

CAR. Transfer sis as shown in Diagram

9 MT). Note: at MT, the 47 row border

measures 14cm deep.

1 (see patt note). Inc 1 st at L.

164[174:182:190:198J sts. **Set pitch

.31 sts and 38 rows to 1 Ocm measured

over cable patt (tension dial approx

'H'. Transfer sts as shown in Diagram

2 (see patt note) using the heel of an

7/5 MT-2/MT-4).

adjacent st to fill empty RB Ns.

Tensions must be matched exactly

before starting garment.

Set RC at 000. Using MT-2/MT-4, work

in cable pall (see patt note) until RC

shows 50. * Pitch 'P'. Transfer sts to
MB. Using MC and MT-2, K1 row.

ABBREVIATIONS

CAL. Insert punchcard and lock on first

See page 50.

row.Set carr to select/memorise for

NOTE

pall and K1 row. Release punchcard

Knit side is used as right side.

Measurements given are those of fin

and set carr for Fair Isle. Work in col

sequence (see patt note) for 47 rows* .

ished garment and should not be used

RC shows 99. Set carr for st st and

19
-

BACK/FRONT

56

SLEEVE

34

24
53(56:59:61 :64]

using MT-2, K1 row. CAR. With RB in

position transfer sis as shown in Dia
gram 1**.Set pitch 'H'. Transfer sis as
shown in Diagram 2, using the heel of
an adjacent st to fill empty RB Ns. Hang
comb and weight evenly. Using MT2/MT-4 and working in cable patt, K
until RC shows 112(116:120:124:128].
Place a marker at each side. K until RC
shows 150. Rep from * to *. RC shows
199 and second Fair Isle section com
plete. ***Using MC and MT-2, K1 row
st st. CAR. With RB in position, trans
fer sis as shown in Diagram 1. Pitch
'H'. Transfer sis as shown in Diagram
2 (filling empty RB Ns as before). Hang
comb and weight evenly***. Work in
cable patt and K until RC shows
208(212: 214:218:222].
SHAPENECK
Note pattern position. Using a separate
length of MC, cast off 38 sts at centre.
Transfer RB sts to L of centre to MB.
Using nylon cord, K sis at L by hand,
taking Ns down to NWP. Cont over rem
sts at right for first side. Keeping cable
patt correct throughout, K1 row. Cast
off 3 sts at neck edge on next and foll
alt row, K1 row. Cast off 2 sis at neck
edge on next and foll alt row. RC shows
216(220:222:226:230]. 53(58:62:66:70]
sts. Transfer sts to MB. Using MC, K
sis by hand making long loops. Cast
off using a latch tool.
CAL. Unravel nylon cord over sis at L,
bringing Ns down to WP. Return pre
viously transferred sis to RB. CAR. Reset
RC at 207(211 :213:217:221l and keep
ing cable patt correct from noted posi
tion, K1 row. Complete as given for first
side (the previous row is the extra one
to reverse shaping).
66:70] sis using a latch tool.

rows. Inc 1 st at each end of next and

NECKBAND

FRONT

CAR. Unravel nylon cord from sts at L

Work as given for back until RC shows

bringing Ns down to WP. Lock punch

every foll 4th row 30 times in all. 174

sis. K until RC shows 150. Pitch 'P'.

Join L shoulder seam. With RB in posi

tion set machine for 1 x1 rib. Push 153

card on noted row. Set carr to selecV

Transfer sis to MB. Using MC, K sts

Ns on MB and corresponding Ns on

by hand making long loops. Cast off

RB to WP. Arrange Ns for 1x1 rib. CAR.

Note position in patt. Using a separate

memorise without K and take to L. Reset

RC at 188(192:194:198:202]. Release

length of MC, cast off 20 sts at centre.

punchcard and set carr for Fair Isle and

Using nylon cord, K sts at L by hand,

keeping patt correct from noted posi

tion work to correspond with first side.

188(192:194:198:202].
SHAPENECK

taking Ns down to NWP. Cont on rem

sis at R for first side. K1 row. Cast off

using a latch tool.

CUFFS
With RB in position set machine for 1x1

Using MC, cast on and K3 tubular rows.

Set RC atOOO . Using MT-7/MT-7, K14
rows. Using C, K4 rows. Using MC,
K14 rows. RC shows 32. Transfer sis

rib. Push 77 Ns on MB and corre

to MB. Using MT-2, K1 row. CAL. With

sponding Ns on RB to WP. Arrange Ns

for 1x1 rib. CAR. Using C, cast on and

wrong side facing, pick up neckline and

hang evenly along the row. Using MC,

4 sts at beg of next and foll alt row, K1

SLEEVES

row. Cast off 3 sis at beg of next row,

K1 row. Cast off 2 sts at beg of next

Push 106 Ns to WP. Using WY and

MT, cast on and K a few rows ending

K3 tubular rows.

K sts by hand making long loops. Cast

row, K1 row. Dec 1 st at neck edge on

next and every foll alt row 6 times

CAL. Using nylon cord, K1 row.

Set RC at 000. Using MC and MT-2,

Set RC at 000. Using MT-7/MT-7, K2

rows. Using MC, K until RC shows 36.

off using a latch tool.

TO MAKEUP

in all. At the same ti m e when RC

K2rows. With RB in position, pitch 'P',

Transfer sts to MB. With wrong side

shows 199, work patt as given for back

transfer sis as shown in Diagram 1.

facing, pick up sis from below nylon

Neaten ends of Fair Isle sections. Join

from *** to ***. Work in cable pall

Hang comb and weight evenly. Work

cord and hang on to Ns, dee 29 sis

shoulder and neckband seams. Turn

and K until RC shows 216(220:222:

as given for back from to **two times

evenly along the row. Remove nylon

band in half to inside and slip stitch

226:230]. Pitch 'P'. Transfer sts to

in all, and atthe same time when RC

cord. Using MC, K sts by hand making

down. Set in sleeves. Join side and

MB. Using MC, K sis by hand making

shows 4, inc 1 st at each end of next

and every foll 5th row 4 times in all, K3

long loops.

sleeve seams. Wash and block as given

Cast off using a latch tool.

for lady's suit, page 46.

long loops. Cast off rem 53(58:62:

47

The theme is familiar, yet it still

punchcard from row 44, ending on

leaves a lot of room for variations

row 97. Alternatively, the two Ted

and new ideas. The swatches and

dies could face the centre.

diagrams show you some of the

Part of Teddy extends a little.

possibilities which can be readily

You can mark where the extension

expanded on. If you compare

starts and ends on your punchcard

Swatch 1 with Swatch 2, you will

as a reminder. Note that these

notice that each Teddy has his own

needles have to be pulled to UWP

character. Teddy 1 looks more

on the right beyond needle 12 (see

debonair wearing his cravat, whilst

punchcard/chart) so that a motif

Teddy 2 looks positively cosy -

larger than 24 stitch width can be

and will be even warmer when he

worked. The contrast colour will

drinks his mug of tea! No doubt

knit on the needles which are

your Teddy will look different still

manually pulled to UWP.

as you put your own 'stamp' on

him. This is the beauty of using a

BORDERS

basic design and adding a little

handwork.

Although there are no borders on

the swatches, you could easily
choose a small one to go on the

WHERE SHALL WE PUT

TEDDY?

edge of the garment. Try a simple

2x2 pattern at the top of the sleeves,

Teddy has central stage this time.

using some of the colours from

Place him between cams 12 left

the front to echo the motifs and

and right of centre 'O'. Start the

decorations.

THE KNITTING DETAILS

THE CRAVAT
Crochet cast on 2 sts. Inc 1 st at
each end of alternate rows until
there are 8 sts. Set carriage for HP
and push 4 Ns at left to HP. Knit
16 rows and cast off. Set carriage
so HP needles will knit and com
plete left side to correspond with
right.
Embroider a design of your
choice on the cravat. Make a knot

ADDING TEXTURE
As in previous designs (Profitable
Machine Knitting covered Penguins

with the two narrow ends, pulling

each end at either side of Teddy's
neck and fastening at the back.

in January and Dinosaurs in Feb

ruary) the motif has been enhanced

THE SCARF

with embroidery to make it more

Crochet cast on 7 stitches and knit

textural. The scarf, cravat and table

approx 54 rows. Cast off. Cut small

cloths are worked separately. The

Cravat

tablecloth on Swatch 1 serves as a

lengths for the fringe of all the

Fringe on scart

colours - or those that you desire

pocket, whilst the tablecloth on

and fringe each end of scarf.

Swatch 2 has a lacy effect on two

edges. Create your own lacy effect,
or put in a coloured border. I toyed
with the idea of having a checked

--

satin stitch - fawn warrn white

yellow

backstitch - red

of the neck. Secure at the back and

cloth, but decided against it as it

would have obscured the food. You
may think a lacy tablecloth too
dainty for the more 'butch' Teddy.
but it was really his mother's
choice!

fasten to the front with small

stitches.
Swiss darning - green

THE TABLECLOTH
_

outline in brown
backstitch

transfer 2nd and every following

small stitches either side of the

alternate stitch across to adjacent

French knot. The nose is Swiss

needle. Leave empty needles in

o o
0
I

damed in navy, where two stitches

appear in the background colour.
The mouth is worked in straight

--

stitches.

work. To make the next row easier

to knit, pull all needles forward to

satin stitch- red

ALTERNATIVE COLOURWAYS
As you can see, the colours on

Swatch 1: The glass of lemonade

Swatch 1 are mainly pastel, but for

and the plate are Swiss darned.

those of you who like their Teddy

The straw is backstitched. Satin

more striking, the second swatch

stitch is used for the tomatoes, with

small stitches for the stalk. For the

small stitche.s - browo

egg on toast, start by embroidering

the toast in satin stitch. Work a
circle of small stitches for the white,

satin stitch- fawn

then use satin stitch for the yolk

in the centre. The banana is embroi

- backstitch - green

dered in long straight stitches.

at the top for the tea. The plate is

also swiss darned. Backstitch the
French knot red

for the cake and a French knot for

the cherry. The apple is embroi

If time is short, you can omit some

of the items on the menu, but I feel
sure you'll enjoy adding to them!
Perhaps Teddy would like a nice

shades. You will also have noted

that his neckwear as well as his
taste in food is different. This is
the kind of variation that children
love and if you knit for clients,
family or friends, they're sure to
vidual touch.

Swiss damed, with small stitches

and lettuce.

shows him in brighter, contrasting

appreciate something with an indi

Swatch 2: The mug of tea is

and use small stitches for the ham

upper working position.

straight stitches
yellow, brown markings

FOOD FOR THOUGHT

areas of red. Satin stitch the roll

and knit 32 rows. Cast off.

above, but on the 4th and 28th row,

French knots for the eyes, with

dered in satin stitch, with small

Crochet cast on over 33 stitches

For the lace edges, work as

For Teddy's face I have used

handle of the mug. Use satin stitch

Use a crochet hook to pull the

end of the scarf through the side

satin stitc

"""'Q
I

Swiss darning -green

YARNS
I have used Bramwell's Fine 4 ply

Swiss darning
green

Acrylic in the following colours:

Special Mint;Dusty Pink; Warm

U-

White; 455 Green; Navy; 34 4

Yellow; 325 Red; 420 Brown; and
416 Fawn. If you have any diffi
culty in finding a stockist, their
lazy daisy-green

satin stitch
green, red
markings

address is F. W. Bramwell & Co.

Ltd, Unit 5, MetcalfDrive, Altham
Lane, Accrington, Lanes BB5 5TU.
I leave you to have fun thinking of

red lollipop? Or an ice cream. Pic

ways of developing the initial

ture recipe books are a rich source

image. Next month we're hopping

of ideas, so long as you don't get

places - down under in fact, to

side tracked into cooking the food!

meet some kangaroos.

49

Shamal adds life with

20%wool
* 20% wool I 80% acrylic for better results.
*Knits as a 4-ply- bulky but light.
*Machine washable.
* 40 colours including Shetland-type mixtures.
*Great value. Full 44" garment in a 400g cone.

T. Forsell & Son Ltd., Blaby Road, South Wigston, Leicester LES 2SG
Distributors:
USA - T he Knitting Machine Centre,
CANADA-Westrade Sales,

2711,

5442

Cannas Drive, Cincinnati, Ohio,

no. 3 Road, Richmond, B.C.

45238.

V6X 282.

AUSTRALIA-Tanunda Woolcraft, 1776 Murray Street, Tanunda, South Australia

HOLLAND- Projeko, Raamsingel

30, 2012,

5352.

OT, Haarlem.

alt=alternate(ly)
altog= altogether

g =gram
HP=holding position

RHS=right hand side

RT=rib tension

BB=back bed

inc=increase

rem= remaining

beg= beginning
CAL=carriage at left

K =knit
L =left

st(s) =stitch(es)

CAR= carriage at right

LHS=left hand side

st st= stocking stitch

carr=carriage
cm centimetres

MB=main bed

T=tension

MT= main tension

NWP=non working position

tog=together

col=colour
con = contrast

N(s) = needle(s)

trans=transfer
UWP=upper working position

cont= continue
dee= decrease

opp= opposite
patt=pattern

WK =using WY, K a few rows and

release from machine

DK=double knitting
ev=every

pas=position

WP=working position

R =right

FB =front bed

RB=ribber

WY=waste yarn
[]=figures in square brackets

Ff=fully fashioned

RC =row counter

refer to larger sizes

foll= following

rep=repeat

SS= stitch size

FOR MACHINES WITHOUT RIBBER

MOCK RIB
Push the number of main bed Ns as given in the patt to WP. Return alt Ns to NWP for lxl mock rib. Return every 3rd N to NWP for 2xl
mock rib. Using WY, cast on and Ka few rows, ending carriage at left. Using T lO and nylon cord, Kl row. Set RC at 000. Using MC and
MT-3, Kthe number of rows given in patt (i.e. depth of rib). Using MT, Kl row (fold row). Using MT-3, Kthe same number of rows for
depth of rib again.
Return intermediate NWP Ns to WP. Pick up loops from first row worked in MC and hang on to empty Ns (plus adjacent N for 2x1 rib)
evenly along row. Complete as given in patt. To remove WY when work is completed, pull nylon cord from one end of work, thus
releasing waste knitting.

50

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stretchy fabrics can also be traced

Ruth Lee is highly qualified to

off and used in this way.

talk about all aspects of

Charter patterns can be used to

map out the position of stripes,

design and machine knitting

Intarsia motifs, and even the full

Intarsia design. Complex Intarsia

- holding a Dip AD with

designs can be outlined, remem

bering to reverse the image if the

First Class Honours in

design is asymmetrical, or letters

Printed Textiles from

and numbers are present in the pat

Liverpool Polytechnic and a

YOURSELF

Higher Diploma in Art and

Design Printed Textiles from
Birmingham

The charting device eliminates the

THE FITTING BONUS

need for complex and lengthy writ

The charting device allows a much

Polytechnic. She has been

ten patterns. Garment shape is rep

teaching at senior levels for

to either a transparent sheet or

twenty years - currently at

resented by an outline drawn on

heavy duty paper, which is fed into
the charter. This enables the knit

Cumbria College of Art and

ter to see at a glance each step of

Design. However, she is no

important steps such as where to

stranger to the commercial

knitwear world, having
worked in partnership and

the knitting process, including

increase or decrease, and by how
many stitches.

THE PATTERN FORMATS

Pattern shapes can be either full or
half scale, depending upon the

alone selling designs -

make and model of machine. Rows

mainly to the top stores in the

prepared tension swatch, knitted

USA. Featured amongst her

past clients are Lauren
Bacall, Natalie Wood, Judith

and stitches are calculated from a

to exactly the same specifications
as the proposed garment. This infor
mation is used to set up the row
controlling mechanism (that is, the
rate at which the pattern sheet
rotates) and the stitch scale rulers

Kranz and Molly Parkin!

(which establish the correct number

Her first book

ment).

Pattern on the Knitting

Machine was published by

Batsford in 1991.
She will be writing for
Machine Knit Today on a

regular basis and starts the

of stitches for any given measure

A visual representation of shape
- the main function of the charter
- has many advantages over the
written pattern, since the latter is
tied to one particular kind of stitch
pattern, tension and yam type.

FREEDOM
The charter gives the knitter free
dom to translate the outlined shape
into any suitable combination of

first of a short series about

stitch pattern, colour, texture and

design and the charting

maker uses a paper pattern for a

device this month

tions are not generally required for

weight of yarn, rather as a dress

range of fabrics. Written instruc
each alternative version, as long as

greater degree of flexibility, not only

terns.

THE BASIC PRINCIPLE

Shapes within the design are fol
lowed in much the same way as is
the outline for the main garment.
The stitch scale rule acts as a visual
check on where one block of colour
ends and another begins. This

in choice and use of differing types

method eliminates the need to

of yam and stitch structure, but in

translate Intarsia designs into a

adapting and developing basic gar

graph, and is much easier to follow.

ment blocks to suit individual mea

Garment shapes can be posi

surements. For example, simple

tioned vertically, horizontally, or

alterations to the shape of a neck

at an angle on the pattern sheet,

line (square, round etc.) can be

altering the orientation of the

drawn directly on to the outlined

stitches and rows. It is a particu

pattern, using either a ready-made

larly useful method for bias

neckline template or a curved and

straight edge ruler (see Diagram 2).
It should then be obvious whether

knitting. The design sheet shows

some of the possible variations in
diagram format.

or not the new proportion and shape

The technique can be further

of the neckline will work success

extended if the charting attach

fully with the overall appearance

ment and pattern papers can be

of the garment.
A standard pattern block can be

adapted for use with both the stan

dard and chunky gauge machines.

adapted to suit personal require

For example, the Brother knitleader

ments and taste, and then quickly

KLl 16 is compatible with the

translated into an end product with

KH230 (chunky), and some stan

out the pattern details having to be

dard gauge models which do not

rewritten.

have an in-built charting device.

GRADING SIZES

SETTING UP

The same is. true of multi-sized pat

Successful knitting using the char

terns. Several outlines (in differ

ent colour inks) can be drawn out
on the same sheet, to give a range
of small, medium and large sizes.
This is most useful when work is
being done to a tight schedule for
individually commissioned gar
ments, and where basic pattern
blocks are regularly adapted. Char
ter patterns are a particularly cost
effective method of production,
which add variety and individu
ality to a collection with a
minimum of extra work.

DESIGN INTERPRETATION

ter depends heavily upon the accu

rate production and measurement
of a tension swatch, and the cor
rect interpretation of this infor
mation when setting up the device.
Although there are minor varia
tions among makes and models,
the basic principles and end results
are the same. As has already been
established, the garment shape is
drawn out on to the special pat
tern paper as an outline. The sheet
is then fed into the charting device
in very much the same way as the

24 stitch punchcard, and set to

rotate at a particular rate. The rate

the tension swatch has been cor

Classic garments can be reinter

is controlled by the gears on the

rectly knitted and measured.

preted each season in a new stitch

charter, and is determined by either

the number of rows needed to knit

This method of working elimi

pattern, yarn type, colour or tex

nates the necessity to match ten

ture. Garment patterns initially

10 centimetres (Silver machines)

sion when substituting one yarn

designed for hand knitting, per

or the metric measurement for a

for another. All that is needed for

haps even from some past era, can

given number of rows (Brother and

each particular project is a tension

be brought up to date and inter

European machines).

swatch that looks and feels right,

preted in contemporary yams, as

For instance, a bulky yam knit

and is knitted to the correct dimen

long as the outlined shape and mea

ted in stocking stitch will need less

sions (usually 40 sts x 60 rows -

surements are available from which

rows to complete a 10 centimetres

see Diagram 1.)

to work. Dressmaking patterns for

length than will a fine gauge wool,

53

DIAGRAM1

IL

Contrast WY

shape. As the outlined shape

1 shows the difference between an

changes (for example where arm

oiled and a washed sample.

hole shaping occurs), so will the

Swatches should also be laundered

graduations on the stitch ruler. It

if a new yam is used to check for

is at this point that the increasing

shrinkage (unbranded cottons and

or decreasing takes place. Count

silks can be prone to this). Sample

the number of extra divisions for

set 2 contrasts the dimensions of

increasing (or decreasing) and add

various 40 stitch x 60 row swatches,

on (or subtract) that number of

including a 4 ply chenille at T9, 2

stitches. Naturally the stitch scale

ply wool at TZ, lurex at TB, 2 ply

ruler must be watched throughout

cotton at T3 and an acrylic/cotton

the knitting operation. Diagram 3

mix at T7. Sample set 3 demon

shows a diagranunatic version of

strates the same effect, but this time

21

21

the charter paper, and a stitch scale

using contrasting stitch structures,

ruler. The arrow indicates a down

knitted to an identical number of

ward movement of the sheet

rows and stitches, and in the same

towards the stitch scale.

yarn. The swatches include tuck

40sts

stitch, slip stitch, stocking stitch

If

Contrast WY

60 sts

THE TENSION SWATCH

and two-colour pattern knitting.

The main tension swatch should

Notice that the overall shape of the

be knitted in the type of yam chosen

swatch is altered dramatically. For

for the finished garment, at the

example, tuck stitch knits up wide

same tension and in an identical

and short, slip stitch is both narrow

stitch pattern and structure. Sample

and short when compared with

swatches should be knitted on the

two-colour Fair Isle and stocking

same machine as the finished gar

stitch. Smaller discrepancies exist

ment, as tension discrepancies do

between the last two, the Fair Isle

swatch being longer and narrower

exist between machines.

than the stocking stitch.

Swatches in oiled Shetland or

and in this case the pattern sheet

A series of graduated stitch rules

will rotate in longer steps, there

are available which cover all the

fore more quickly. The number of

main tensions. Each graduation on

stitches required to knit a particu

the ruler represents a single stitch.

lar width will also be determined

A particular stitch ruler is selected

by the initial tension swatch. For

according to measurements made

example; to knit a 10 centimetre

on the tension swatch.

width of stocking stitch in a fine

yam will require more stitches than

FOLLOWING THE PATTERN

the same stitch type in a chunky

The stitch ruler is ser in the char

yam.

ter, in front of the rotating pattern

lambswool should be washed before

TENSION AND YARN

SELECTIONS

measurements are taken; the dimen

sions change once the oil has been
removed, since the fibres expand

Experimenting with a variety of

and fill out the knitting. Sample set

tensions is advised when using

DIAGRAM 3

PATTERN SHEET

DIAGRAM2

MOVES TOWARDS
STITCH SCALE RULE

r
z

ff!

cc
r

'-'

SET IN SLEEVE PATTERN

SQUARE NECKLINE
FRONT BODICE BUST SIZE 97cm

BUST LINE

10

15

20

25

10

15

20

25

30

35

40

45

50

55

60

65

70

45

50

55

60

65

70

STITCH SCALE RULER

30

35

40

SET IN SLEEVE PATTERN

BODICE (FROND BUST SIZE 97cm
NEEDLE BED

54

new and unfamiliar yams, in order

top and bottom contrast yarn rows

to establish a suitable main ten

for row details.

sion prior to knitting the main

Silver machines: Use the green

swatch. Sample set 4 shows two

ruler supplied for this purpose, to

narrow strips of knitting, in which

establish the number of rows and

the tension was varied every 20

stitches in a lOcm measurement.

rows. A variation from a close knit

Other machines: Check specific

structure (tight tension) to a more

stitch and row details in your

open fabric (loose tension) can be

instruction manual and use the

seen. The examples were knitted

basic principle of 'framing' the

in a 2 ply cotton ('Brittany' from

fabric to be measured in the same

Yeoman) and a 2 ply Shetland

manner as given for Japanese

(jumper weight from Jamieson and

machines.

Smith, or Hunters ofBrora).

Choose the tension which looks

If you feel the need to double check

dling different yarns will tell you

that your calculations are accurate,

this, but generally, too tight a ten

draw out a small rectangle on to

sion produces a harsh, uncom

the charting paper. Set the controls

fortable fabric, while too tight a

as you would for the finished gar

tension results in a flimsy, unsta

ment, knit up the test shape, and

ble stitch structure. There is usu

establish that the measurements

ally a narrow band of suitable ten

are correct before embarking on the

sions from which the most appro

final piece. Triangular and diamond

priate

shapes can also be used to practise

be

selected.

Experience with a variety of yarns

shaping techniques. A few small

by way of experiment will help to

experiments of this nature should

build confidence in selecting and

help bring the confidence required

using unfamiliar materials, adding

to operate the system with ease.

to the versatility and scope offered

Once a few successful garments

by the charting device. Once a suit

have been completed, it is really

able stitch pattern has been

not necessary to repeat this pro

achieved, the main swatch should

cedure, unless the design is knit

be knitted and measured, as

ted in a particularly unusual stitch

shown in the instruction book

structure which is difficult to mea

accompanying the charter.

sure accurately.

INSTRUCTIONS FOR KNITIING

A 40 STITCH X 60 ROW
TENSION SWATCH
a) Cast on 60 stitches in main yarn
and tension. Knit approximately
10 rows in stocking stitch.

NIT f\'\IN

SLCUS OF
COLOUR
El'l\BROIOE\1.
P5'TI\IL.

lwSwl

for another of different elasticity,

the chosen garment shape.

SMING DEVELOPMENTS
example, batwing, drop shoulder
or raglan style) will suit a more

Knit 30 rows in the yarn tension,

diverse range of stitch structures

stitch structure and design chosen

than a tight fitting sweater. Sample

for the garment.

set 5 illustrates a half bodice and

d) Pull out needles numbered '21'

set in sleeve, designed for a front

either side of the centre 'O' on the

opening 'V' neck cardigan. The first

needle bed. Hook a short length of

example was knitted in a two

contrast yarn on to the needles.

colour Fair Isle pattern, the second

as a selkoloured tuck stitch design.

ting in the contrast yarn. These ties

Further

will act as markers, in order to mea

involve using contrasting yarns in

sure 40 stitches.

the Fair Isle example (chenilles,

e) Knit a further 30 rows as in c).

cottons, fancy yarns) or introduc

developments

might

ing stripes of colour into the tuck

CALLINGALL

SINGER

KNITTERS
HELP

IS ONLY A LETTER AWAY

We proudly present a new range of teaching VIDEOS especially designed to

help you. They will take you gently through a step by step guide on how to
get the best out of your SINGER knitting machine.
We offer a unique service. Your own VIDEO made to order to cover any
aspect of machine knitting or finishing techniques.

ANNOUNCING NEW PRODUCTS

Our product range includes:
Videos, Accessories, Selected yarns, Wool trees,
Wool twist, Work station

stitch pattern. This would be a rel

g) Knit approximately 10 rows in

atively simple task to perform using

the main yarn.

the charter.

h) Cast off.

CHi\ R:rE>?
Pf\p,

P\<K<i
JflWSiQ
l'iloi-WS

make sure that it is compatible with

A fair! y loose fitting design (for

contrast yarn.

A final note of caution: when

2 rows in stocking stitch.

c) Change back to the main yarn.

t) Knit 2 rows stocking stitch in the

substituting one stitch structure

b) Change to the contrast yarn. Knit

Pull the needles back, thus knit

ChV:Wfl':D
TND1RSIA
OE.::,\&NS.
Oil.WOlJfiJNE:S
DIRECTLY OIVTO

CHECKING FOR ACCURACY

and feels right. Experience of han

should

$!.-<UC\- t fko_ I "t

katlO IC&1J<, "tflcrto."'
jfOI?. lo 00'.j o.u-11., 'O.G\<D..lo_
.t"- c'B" n-.W >.I

i) Block and press.

Th!l, next article will develop design

j) Unpin when dry. Leave the

ideas using assorted combinations

swatch for at least two hours before

of stitch patterns within the same

measuring to allow it to relax.

garment, including the use of single

and double bed stitch pattern,

MEASURING THE SWATCH

panels of contrasting stitch struc

Brother and Toyota machines: Mea

tures and simple methods of devel

sure the swatch flat between the

oping basic garment patterns for

ties for stitches and between the

use within the charting device.

Enquiries with an AS SAE to

WOOLLEY SOFT WARE
PO Box 524
Barton-le-Clay
BEDFORDSHIRE MK4S 4Yl

FREE written HELP line

55

SIZES
To suit bust 81 [86:91 :96:101:106:
111]cm.
Finished measurement 91[96:101:106:
111:118:121]cm.
Length 59[60.5:60.5:62:62:63.5:
63.5Jcm.
Sleeve seam 53[53:53:53:53.5:53.5:
53.5]cm.
Figures in square brackets [ l refer to
larger sizes; where there is only one set
of figures, this applies to all sizes.

MATERIALS
Bonnie's Sable Crepe.
1[1 :1 :2:2:2:2] x 500g cones in MC.
Approx 100g in C.
10 buttons.

Lady1s Lace Cardigan

with Detachable Collar
MACHINES: These instructions are written for standard gauge
punchcard machines with ribber and transfer lace carriage (although
manual transfer directions also given). We used a Brother 836 with
ribber.

YARN: Bonnie's Sable Crepe

FIBRE CONTENT- 100% Bright Acrylic
COLOUR: We used Coffee (MC) and Cream (C)
STOCKISTS: If you have any difficulty in obtaining this yarn, please
write to Bonnie's Wool Ltd, 1273 Bristol Road South, Northfield,
Birmingham B31 2SP

3 press studs.

MAIN TENSION
32 sis and 43 rows to 1 Ocm measured
over st st (tension dial approx 6 =MT).
Tension must be matched exactly before
starting garment.

ABBREVIATIONS
See page 50.

NOTE
Knit side is used as right side.
Measurements given are those of fin
ished garment and should not be used
to measure work on the machine.

PUNCHCARD PATTERN
Punch card before starting to knit.

PATTERN NOTE
Punchcard designed for Brother
machines, but as there are only two knit
rows between each lace transfer
sequence, no modification to punch
card is required for other machines.
Lace transfer sequence worked thus
note LC lace carriage.
**4 rows LC, K2 rows
=

Reproduced courtesy of Brother

2x2 rib. CAR. Using MC, cast on ana

K3 tubular rows. Using MT-4/MT-4,
K26 rows. Transfer sts to MB.

SHAPE ARMHOLES

RIGHT FRONT

Cast off 4[5:6:7:8:9:1OJ sts at beg of

With RB in position set machine for 2x2

rib. Push 73[77:81:85:89:93:97] Ns at

next 2 rows. Dec 1 st at each end of

7[8:9:10:11 :12:13]

R (L for L front) of centre 'O' on MB and

corresponding Ns on RB to WP. Arrange

Set RC at 000. Using MT, K2 rows.

next

Insert punchcard and lock on first row.

Start and work in lace pall (punchcard

124(128:132:136:140:144:148] sts. K
until RC shows 236(242:242:250:250:

rows.

released after selection row using LC

256:256].

on and K3 tubular rows. Using MT-

worked) throughout, keeping 2 sts at

each edge in st st throughout (i.e. do
not allow them to transfer sts). K until

SHAPE SHOULDERS

4/MT-4, K26 rows. Transfer sts to MB.

Cast off 39[41:42:44:45:46:48] sis at

beg of next 2 rows. WK over rem

Work as given for back until RC shows

138[140:140:142:142:144:144] (K1

RC shOtvS 138(140:140:142:142:144:144].

46[46:48:48:50:52:52] sts.

extra row for L front).

Ns for 2x2 rib. CAR. Using MC, cast

DIAGRAM 1

DIAGRAM 2

Manual transfer for body

Manual transfer for collar

Repeat

*6 rows LC, K2 rows*. Rep from * to *

7 times in all**.
Rep from ** to ** throughout.
Note 2 repeats from ** to ** =
1 complete pattern repeat.

SPECIAL NOTE
Main lace pattern can be worked man
ually if desired from directions shown
in Diagram 1.
Collar pattern worked manually as
shown in Diagram 2.

'+++-r++rlf' 4-t++--FH-t-t-MT--+- -t-t--t

-f'
-t-T-Tt
-r--t-CT'TT
-'-T'''
'C't-1
oe:;:1::t=t +J:t1:;:J

>+++++4-H+.-,cH-+-.+d-*++H- H 1-

r.

t11it;.,

20

10
o Empty needle in WP

rib. Push 146[154:162:170:178:

// Move 2 sts to the right

186:194] Ns on MB and correspond

"" Move 2 sts to the left

56

tf: 1-h-+'---=
+'"':"
" }-* IT ---tr-r-

10

- o Empty needle in WP

20

30

/ Move 1 st to the right

'- Move 1 st to the Jett

With RB in position set machine for 2x2

ing Ns on RB to WP. Arrange Ns for

t1

ii.iIlt
rt,lf
Et

30

BACK

t-+

_J Push 1 needle to WP at the right

L Push 1 needle to WP at the left
X Needle with 2 sts

SHAPE ARMHOLE

sponding Ns on RB to WP. Arrange Ns

Cast off 4[5:6:7:8:9:10] sts at beg of

for FNR. CAR.

next row. Dec 1 st at armhole edge

Using MC, cast on and K3 tubular

on next 7[8:9:10:11 :12:13] rows.

rows.

62[64:66:68:70:72:74] sis. K until RC

BUTTON BAND

shows 205[211:209:217:215:221:219].
(K1 extra row for L front).

Set RC at 000. Using MT-5/MT-5,

K232[238:238:238:238:246:246] rows.

SHAPE NECK

Transfer sts to MB and cast off.

Cast off 1O sts at beg of next row. Dec

BUTTONHOLE BAND

1 st at neck edge on next 13[13:14:

Work as given for button band, adding

14:15:16:16] rows. 39[41:42:44:45:

buttonholes when RC shows

5[7:7:7:7:7:7]. 33[35:35:35:35:36:

46:48] sts. K until RC shows 236[242:

242:250:250:256:256]. (K1 extra row

36], 61[63:63:63:63:65:65]. 89[91:

91:91:91:94:94]. 117[119:119:119:
119: 123:123], 144[147:147:147:147:

for L front).
Cast off.

152:152], 171[175:175:175:175:181:
181], 198[203:203:203:203:210: 210],
226[231:231:231:231:239:239].

LEFT FRONT
Work as given for R front, noting
difference in rows to reverse shapings.

NECKBAND

SLEEVES

Push 118[118:122:122:128:132:134]
Ns to WP. With right side facing, pick
up 36[36:37:37:39:40:41J sis from front
neck, 46[46:48:48:50:52:52] sis from
below WY at back neck and 36(36:

With RB in position set machine for

2x2 rib. Push 78[80:82:84:86:88:90]
Ns on MB and corresponding Ns on
RB to WP. Arrange Ns for 2x2 rib. CAR.
Using MC, cast on and K3 tubular rows.
Using MT-5/MT-5, K26 rows.

37:37:39:40:41] sts from front neck and

hang evenly along the row. Using MC
and MT-2, K18 rows. WK.

Set RC at 000. Using MT, work in lace

pall as given for back throughout. K4 .
rows. Inc 1 st at each end of next and
every foll 4th row 14[23:23:32:32:41:41]
times in all. 106(126:128:148:150:170:

COLLAR
Work two pieces alike.
Push 117(117:117:130:130:130] Ns

172] sts. KS rows. Inc 1 st at each end

of next and every foll 6th row
25[19:19:13:13:7:7] times in all.
156(164:166:174:176:184:186] sts. K
unti I RC shows 210[210:210:210:212:
212:212].

to WP. Using WY and MT, cast on and

K a few rows ending CAR.
39140:41.5:42.5:44:45:46]

SHAPE TOP
Cast off 4[5:6:7:8:9:10] sis at beg of
next 2 rows. Dec 1 st at each end
of next 7[8:9:10:11 :12:13] rows.
134(138:136:140:138:142:140] sis.
Cast off 19[13:12:11:12:9:6] sts at beg
of next 6[9:10:11:10:15:22] rows. Cast
off rem 20[21:16:19:18:7:8] sis.

CARDIGAN
BACK

CARDIGAN
FRONT

45.5148:50.5:53:55.5:59:60.5]

23124:25.5:26.5:28:29:30.51

FRONT BANDS
With RB in position set machine for
FNR. Push 8 Ns on MB and corre-

24.5[25:25.5:26:27:27.5:28]

Set RC at 000. *Using C and MT+3, K3

rows. Transfer 2nd and every foll alt st
to its adjacent N, leaving empty Ns in
WP. K3 rows. Turn a hem by picking
up loops of first row worked in MC and
hang evenly along the row*. Using
MT+1, K1 row. Break yarn and position
CAR. Set carr for HP and push all Ns to
HP. Using MT, **push to UWP the 6th,
7th and 8th Ns from R. Following the
collar chart, K30 rows pattern. Cast off**.
Repeat from **to ** over each suc
cessive group of 3 (starting number) to
13 (maximum number) sts.
58

FRONT EDGINGS
Push 20 Ns to WP. Using WY and MT,
cast on and Ka few rows ending CAR.
Work as given for main collar from
to

*.

With wrong side facing, pick up

one front edge of collar and hang evenly

along the row. Using MT+4, K1 row
and cast off.

COLLAR STAND
With RB in position set machine for
FNR. Push 8 Ns on MB and corre
sponding Ns on RB to WP. Arrange Ns
for FNR. CAR. Using C, cast on and K3
tubular rows.
Set RC at 000. Using MT-5/MT-5, K5
rows. Work a buttonhole over centre
sis. K until RC shows 189(191:191:
207:207:219:219] Work a buttonhole
over same sis as before. KS rows. Trans
fer sis to MB and cast off loosely.

BOW
Work as.given for collar stand, but over
4 Ns, omitting buttonholes and making

1 strip of 180 rows and another of 11O

rows.

TO MAKE UP
Block pieces to correct measurements,
cover with a damp cloth and steam very
lightly- do not allow iron surface to
put any pressure on fabric. Join shoul
der seams. Set in sleeves. Join side
and sleeve seams. Turn neckband in
half on to right side and finish by back
stitching through last row worked in
MC. Stitch bands to front edges. Sew
on buttons to correspond with button
holes. Sew one button on underside of
neckband. Remove all WY. Stitch collar
sections together using a flat seam.
Block and steam collar as given for
body, pulling the pointed edges gently
to shape and setting them with steam.
Stitch collar to neck stand, starting and
finishing 2cm in from stand edges.
Using the 180 row strip, measure off
4cm and mark. Fold once, then again,
in quarters and slip stitch at centre to
hold in position. Fold the 110 row strip
and wrap the 4cm round the whole bow.
Stitch in place. Stitch to top of knot to
the left of the neck stand. Sew one press
stud to inner neckband at centre and
one to each shoulder seam position
(still on inner neckband). Sew corre
sponding press stud parts to wrong
side of collar stand in corresponding
positions. When cardigan is buttoned
up and collar press studded in place,
fasten both sides of the neck stand to
the button on inside neck edge and flip
the bow over the front bands as shown.
60

SIZES
To suit chest 96-101[106-111:116121Jcm.
Finished measurement 113[123:
131]cm.
Length 67[6S:70]cm.
Sleeve seam 49[50.5:50.5Jcm.
Figures in square brackets [ ] refer to
larger sizes; where there is only one set
of figures, this applies to al I sizes.

MATERIALS
Yeoman Sport
1 x 500g cone in each of MC, A, B and C

MAIN TENSION
30.5 sts and 36 rows to 10cm mea
sured over Fair Isle pall after washing,
drying and steam pressing (tension dial
approx 8).
Tension must be matched exactly before
starting garment.

Mans Fair
Isle Sweater
MACHINES: These instructions are written for standard gauge
electronic machines with ribber
YARN: Yeoman Sport
FIBRE CONTENT: 100% Pure New Wool
COLOUR: We used Cafe (MC), Taupe (A), Oatmeal (BJ and Cream (CJ
STOCKISTS: If you have any difficulty in obtaining this yarn,
please write to Yeoman Yarns, 36 Churchill Way, Fleckney, Leics
LEBOUD

ABBREVIATIONS
See page 50.

NOTE
Knit side is used as right side.
Measurements given are those of fin
ished garment and shou Id not be used
to measure work on the machine.

MYLAR SHEET PATTERN

18.5[19:19]

COLOUR SEQUENCE
55156:56]

SLEEVE

BACK/FRONT

SHAPE NECK
Note patt row. Using nylon cord, K
105[113:119] sts at L by hand, taking
Ns down to NWP. Cont on rem
69(75:81l sts at R for first side. K2 rows.
Using nylon cord, K sts at neck edge
by hand taking 10 Ns down into NWP.
K2 rows. Using T 1O+, K1row. Cast off
rem 59[65:81] sts.

With RB in position set machine for 1x1

rib.Push 75[77:77] Ns on MB and cor
responding Ns on RB to WP. Arrange
Ns for 1 x1rib. CAR. Using MC, r.ast on
and K3 tubular rows. Using MT-6/MT6, K33 rows.Transfer sis to MB.With
wrong side facing, pick up sis from
below WY at lower sleeve and hang on
to Ns, dee 21 sts evenly along the row.
Using MT, K1 row. Cast off loosely.

NECKBAND

BACK
With RB in position set machine for 1x1
rib. Push 173[187:199] Ns on MB and
corresponding Ns on RB to WP. Arrange
Ns for 1x1 rib. CAR. Using MC, cast
on (!nd K3 tubular rows. Using MT6/MT-6, K33 rows.Transfer sts to MB.
Inc 1 st.174[18S:200] sts.
Set RC at 000. Program patt 1, set r.arr
to selecVmemorise for pall and K1row.
Set carr for Fair Isle and Kin patt (see
colour sequence) throughout. K until
RC shows 212(216:224].

SLEEVES
Push 96[9S:98] Ns to WP. Using WY
and MT, cast on and Ka few rows ending
CAL. Program patt. Using MC and MT,
K1 row.
Set RC at 000. Set carr for Fair Isle and
work in patt (see colour sequence)
throughout. K4 rows. Inc 1 st at each
end of next and every foll 4th row
36[37:37Jtimes in all. 168[172:172] sts.
K until RC shows 147[153:153]. Place
a marker on centre st and r.ast off loosely.

CUFFS

Mark mylar sheet before starting to knit.

MC used in Feeder 1/A throughout.

Change colour in Feeder 2/B as follows :
K4 rows A, K9 rows B, K4 rows A, KS
rows C, K9 rows B, K17 rows A, K9
rows B, KSrows C. These 6Srows form
pall and are rep throughout.

by hand, taking Ns down to NWP. Cont

on rem 77(83:89] sts at R for first side.
K1 row. Dec 1 st at neck edge on next
6 rows, K1 row. Dec 1 st at neck edge
on next and every foll alt row 12 times
in all. 59(65:71] sts. K until RC shows
216(220:228]. Using T 1O+, K1row and
r.ast off loosely.
CAR. Program patt for noted row.
Unravel nylon cord from sis at L bring
ing Ns down to WP. Set carr to
selecVmemorise for patt without Kand
take to L. Set r.arr for patt and work R
side to correspond with L.

24.5125:25)
56.5[61.5:65.5)

CAR. Starting at far left, unravel nylon

cord over 69[75:S1] sis, taking Ns down
to WP. Program patt for noted row. Set
r.arr to selecVmemorise for patt with
out K and take to L. Reset RC at
212[216:224] and work L side to correspond with R.
Unravel nylon cord over rem 56[5S:58]
sts, bringing Ns down to WP and WK.

FRONT
Work as given for back until RC shows
184(188:196].

SHAPE NECK
Note patt row. Using a separate piece
of MC, r.ast off 20(22:22] sis at centre.
Using nylon cord, K 77[S3:S9] sts at L

Join R shoulder seam.

With RB in position set machine for 1x1
rib.Push 143[145:145] Ns on MB and
corresponding Ns on RB to WP.Arrange
Ns for 1x1 rib. CAR. Using MC, cast
on and K3 tubular rows.Using MT6/MT-6, K31 rows.Transfer sts to MB.
Using MT-1, K1 row . With wrong side
facing, pick up 56[58:58] sts from below
WY at back neck, 33 sts from front side
neck, 20(22:22] Ns from front neck and
33 sts from front side neck and hang
evenly along the row. Using MT, K1
row. Cast off loosely.

TO MAKE UP
Wash and block pieces to correct mea
surements. Allow to dry completely
before steam pressing (whilst still
blocked).Join rem shoulder and neck
band seam.Fold neckband in half to
inside and slip stitch down. Set in.
sleeves, matching marker to shoulder
seam. Join side and sleeve seams.
61

middle of the body. Use the 'letter'

as ion

mode for scanning as this will give

you the best definition.

TRANSFERRING THE IMAGE

INTO THE DRAWING PROGRAM
Once you have the image scanned

in, give it a name and save it as a

PCX file (or whichever format your

drawing program will accept) ready

for transferring to the paint or draw

ing program. You will probably

have a drawing package supplied

with the scanner and if it is versa

by Wendy Damon
SELECTING THE TOOLS
You will need a varied and flexi
ble drawing program. You must be

which will be full of 'bodies' in

various poses. Magazines and news

paper advertisements often carry

able to draw curves, circles, straight

line drawings of figures - but try

will need a facility for making

'stamps' or 'brushes' (some 'copy'

ble amount of clothing on as you

lines in varying thicknesses, you

program which comes with Win

but this is the least recommended

dows), you will need a 'fill' tool.

method as the proportion will be

wrong (fashion illustrations are

have a colour printer and want to

usually disproportionately long in

however, even if you will print in

a line drawing depicting a pullover

the body and leg). If you can find

or cardigan similar to the one you

different colour line helps to dis

want to illustrate then use that as

when working. I find Deluxe Paint

with lots of colour or fussy detail,

II fills all these criteria and is very

reasonably priced at under 100.

I will also be using a black and

a starting point. Avoid illustrations

they will only make things more

difficult at the next stage. A simple

black on white line drawing is by

white scanner. Mine has a resolu

far the best.

32 grey scales. It was 100 and not

by any means top of the range but

The next stage is to scan the draw

tion of 100-400 dots per inch and

quite adequate for my purpose.

A GOOD FOUNDATION
How to start. You will need a

'body'! Your local library may well

have books on fashion illustration

(Other Paint programs may have

similar appropriate facilities -see

image, exit the scanning program.

trace round photographs of models

tinguish the new lines from the old

image to Deluxe Paint straightaway.

will have to undress your body

before dressing it again. You can

black and white, because using a

ner so I always take my scanned

note earlier re Windows Paint pro

brushes - for instance the paint

make colour prints. Colour is useful

Deluxe Paint far superior to the

program supplied with the scan

finding one with the least possi

facilities can work well used as

Colour isn't essential unless you

tile enough then use that. I found

SCANNING
ing into your computer. If you have

chosen a fairly narrow drawing this

can be done in one scan. If you

can't get the whole drawing into

gram.) When you have saved your

Deluxe Paint allows you to pick

up PCX files from other directo

ries. To do this is very simple -

once in Deluxe Paint, go to 'pict'

and select 'load'. In the top bar (A:,

B:,C: etc.) click on PCX (by click I

mean put the cursor over PCX and

click left mouse button). Under

that bar, above the scroll box, is

written 'C:\dpaint', click on 'dpaint'

and that will disappear and the

scroll box will now list all the direc

tories in the C: drive.

Scroll through until you find the

directory that contains your scan

ning program. When you find it,

click on it and click on 'open'.The

directory name will appear above

(where 'dpaint' was before you

clicked on it). The scroll box will

now list all the PCX files that direc

tory contains. Click on the one you

want and click on 'open'.Your

the width of one scan you will need

scanned image will now appear

Your scanner will have come with

dents or heartache I suggest you

to do two scans and merge them.

r---c---___l:'.ins;utruu tions on how to do this. A

few tips on scanning

on the screen. To avoid any acci

save this image in dpaint now. Go

to 'pict' 'save'. Click on the direc

scan slowly and steadily,

tory name currently there (your

ruler or straight edge if,

Select dpaint from the list of direc

run the scanner down a

scanning program) to get rid of it.

like me, you are likely to

tories and click on it. Click
wobble off course. If' )you-- -=-_

;;.;;ir l
are going to have to

___I

do two scans to get

the whole picture, try

to do them both at the

same speed or one

piece will end up

longer than the other

and they won't merge

properly. It might be

better to do three scans,

one of the main body and

one each side for the arms

or legs or whatever it is that

sticks out. That way the join

1-
----
:__
Firiure 3 ------
will not run right down the

on 'open'. Dpaint is now the clirec

tory shown above the scroll box.
You are still on PCX in the top bar
so change that by clicking on
'dpaint (.LBM)'. Now you can save
the image in 'artwork' in the normal
way. If you cannot pick up files in
this way from within your draw
ing program use the 'copy' com
mand in DOS to transfer the image.
'UNDRESSING' OR
CLEANING UP
Even if you have scanned from a
book of fashion illustration blanks,
you will almost certainly have lines
or marks to remove. My figure had
lines across it, put in to show the
proportion of head to body (Figure
1). 'Rub out' all these unwanted
lines. In Deluxe Paint you can use
a brush of the background colour,
that is, white, or if you are sure the
area you want to remove does not
touch any area you want to keep,
use the 'fill' tool to fill the area with
background colour. Other programs
may have similar devices or may
have an eraser. If you chose a
clothed figure you will need to
remove the clothes unless they
closely resemble the garment you
are going to illustrate. Removing
the clothes requires a certain knowl
edge of anatomy and some guess
work which is why tight fitting or
minimal clothing is best. If you
have decided to keep the clothes
to use in your final illustration,
then you may still need to remove
the fabric design or surface details.
Don't go mad when removing lines,
consider each one carefully - it
is useful to have body points such
as centre front, waist, armhole etc.
marked. My figure has these lines
drawn on and I have left them to
help me when placing the clothes
(Figure 2).
A SAVE IN TIME!
I suggest you save your drawing at
regular intervals. Cleaning the draw
ing up can take time and you will
weep with frustration if a power
cut wipes away all that work (I
know!). Regular saving also means
that if you make a mistake or erase
the wrong line, you can go back to
a recently saved image without
losing a lot of work.
When you have finished the
cleaning up process save the image
to a name unconnected with the
garment you are going to put on it.
..Do this at this stage with all the
figures you use and you will grad
ually build up a library of fashion
figures, ready for use. Keep your
library backed up on a floppy disc
-just in case. It has been suggested
to me that I keep my work on two

kell_!pt-----;;;;:--1

floppy discs, one to be

at a separate address
in case the house
burns down! Well
there's careful and
there's just plain para
noia!

DRESSING
I realise that it may seem
to have taken an awful
long time to get to this
stage and you're begin
ning to wonder if it's
worth it. Remember that
the process up to this point
will only have to be done
once for each figure. Once
it's on file you simply have
to call it up when you want
to do a fashion illustration.
There are a few basic
points to remember when
you are dressing your figure.
The body is round so remember
that the collar carries on around
the back of the neck. Actually draw
it in around the back if it he!ps you
to visualise it (Figure 3). You can
rub out the unwanted bit when you
have finished. The same applies
to the cuffs and rib bands. You will
notice that when drawing the rib
band I have followed the curve of
the waistline.

4
_Fiug re:

THE EFFECTS OF GRAVITY

Gravity affects our clothes and they
will tend to hang down; having
said that you can introduce the
feeling of movement by making
skirts and coats swirl. My model
is leaning back slightly. This will
make the jumper lie flat against her
front and hang away from her body
at the back.
A void using straight lines as far
as possible - even when repre
senting straight lines. They make
the drawing look stiff and unnat
ural. I have used the curved line
tool to draw every line, even the
apparently straight ones. Using this
tool allows you to adjust the curve
until it looks right.
HIDING THE BODY!
Using the lines already on the figure
as a guide and using a contrasting
coloured, fairly wide line; draw
your garment on to the figure
(Figure 4).
When you are satisfied with the
ou,tline you can remove the body
underneath. Since you have used
a different colour for the new lines
you should have no problem in
distinguishing the old lines to
remove them. When you have
removed all the unwanted lines,
'fill' the new lines with black.
Having removed all those

.:-------c
_________:.___:___j

_:__

_
_

confusing lines you can now check

again that the figure looks right. I
realised with my figure at this stage
that the jumper would be caught
against her body where she has her
hand on her hip so I did a new line
to put that right (Figure 5).
You now have a dressed model,
just waiting for garment details to
be added - but for this month, she
will have to stay dressed in this
plain and simple style - next

month we'll add some patterning

to the garment.
My scanned image was taken from
a book called Fashion Design by
Patrick John Ireland. It was pub
lished by Cambridge UniversityPress,
by whose kind permission we repro
duce the scanned image. It is now
out ofprint, but you may be able to
obtain itfrom the librwy- the ISBN
number is 0 521219930.

J&R

KNITTING MACHINES
138 Bridge Street, Witney, Oxon OX8 6DA
Telephone: (0993) 775671
*

Knitting machines,linkers, spares and accessories.

Probably the largest stock of coned yarn, books and
patterns in Oxfordshire.
Bramwell, Forsell, Yeoman,
Denys Brunton,Jandis.
1 ply 2 ply 3 ply 4 ply Double Knit - Chunky
-

MAIL ORDER
Send SAE plus 1 for Shade Cards
(PLEASE SPECIFY TYPE REQUIRED)

ADVICE AND HELP FREELY GIVEN

24 HOUR ANSWERING SERVICE

Closed ALL DAY MONDAY

63

Fabrics and
Furnishings

the furniture displays in local shops

and department stores to see how
the colours are grouped together:
neutral browns and greys, or rich
dark jewel colours for living areas;
clean bright colours for kitchen/
breakfast rooms and children's
rooms; soft pastels for bedrooms
and bathrooms. A patchwork
design would not really suit a
sophisticated living area, but it
would be appropriate for a 'cot
tage' interior and also for many
kitchens and bedrooms.
At the same time as choosing
your colours you need to consider
their arrangement. A large rug or
bedspread gives scope for a pat
tern on the lines ofDiagram A, with
a central 'motif and a border. The
cover design has a regular repeat
ing pattern. The two cushions in
the sketch show other possible
schemes: shown at the left is a
cushion in three colours, arrange
ment asDiagram B, while the cush
ion on the right uses the two-colour
hexagon together with plain hexa

Take a simple unit piece, like our

But you could equally well make

gons in a third colour, arranged as

Diagram C. A cot cover or blanket

patchwork hexagon (see the cover

the same design babyish in pas

on page 65) and use it in a multi

tels. I chose three colours which

tude of ways. Vary the size, colour,

balance each other (so that none is

texture and pattern to create your

own individual designs. Here's

darker or lighter than another)

and arranged them in a repeating

hexagon would be suitable.

how.

pattern.

more random manner. Why not

When designing any article there

A cushion cover or other article

are two main points to consider :

Purpose

for the home should obviously be

made in colours to fit the scheme
of the room for which it is intended.

Appearance

It is quite easy to take lots of wool

PURPOSE

samples into your living room and

could be made in one or more pastel

colours, adding a short fringe to
the crochet edge as shown; the lacy
You might prefer to work in a
make a few hexagons every time
you make a garment in a suitable
yarn? Arrange them in any way
you fancy and make a bright and
cheerful picnic rug.

This will affect your choice of yam.

choose the colours you want right

TO SUM UP THE PROCESS

For the cover, I chose machine

there on the sofa, and you can do

Work out the overall size of the

washable pure wool - machine

the same thing if you 're making

washable for obvious reasons, and

something for a friend, but if you

pure wool for warmth and light-

want to sell in a shop or craft fair

ness. This King Cole yarn is also

it can be more difficult to choose

specially treated to make it Anti-

appropriate colourways. Look at

Tickle, making it particularly

suitable for baby items.
For a cushion cover or other

article you wish to make, and draw

the hexagons in diagram form
(squared paper is a help here).
Decide on the colours you wish to

use and their arrangement, then

colour in your diagram with
.----,
DIAGRAM A
crayon. Count the number of
pieces in each colour needed

article which needs to stand

to make up your design. As a

up to heavier wear, I would

rough guide, 50g of the 4 ply

use a firmer yarn, perhaps a

yam used for the cover made

tweed, or a wool/cotton com-

six hexagons.

bination. On the other hand,

a bedspread is not normally
rubbed or stretched in use and

THE PATCHWORK COVER

so could be made in almost

This pattern was writte n for

any yam. A travel rug needs

Japanese standard gauge

to be both tough and machine

machines, but the basic

washable, so acrylic yarn or

shape can be used on all

a wool/acrylic mixture would

makes and gauge of machines.

Select the most appropriate

be a suitable choice.

HP method for your machine

APPEARANCE

(for instance, Passap/ Pfaff

This will determine your

machines can use the BX

choice of colours and their

setting, with pushers in WP

arrangement.

behind needles which are

I used bright colours for the

cover, just because I like them!

L-------

required to knit and taken

out of work behind stitches

Paintbott 'Yarns

- naturafi6re-s
ffe.signer. yarns for machine and fr.and K._nitting

TWO-COLOURED HEXAGON

90 Cofours

in 4-p{y

48 cvCo urs in

mercerisecf

in matt
cottons

----..

3& SfoU
cottons

Incfigo 'Denim
Cottons

shade cards
and price list

4 p{y Jtfpaca

']vfoliair
.91..ngora

LACY HEXAGON

Paint6o?(,'.J'arn.s Lti.
15 'Bram6Cewootf Cwse
Carslia[ton
Surrey S'.M5 lPQ

Jllran
which, according to the pattern
are in HP). If using a differen t

finished size as given (see note at begin

tensions may vary, which would

ABBREVIATIONS

gauge of machine, note that your

affect the finished size.
Amendments t o the basi c
hexagon method for the multi
c ol oured and lacy hexagons are

given at the end of the pattern

instructions.

'Woo{/Jll{paca

ning of pattern) to be achieved.

Contact Afervi SiCanier:

'Ief: 081 669 2950
'Fa 081 773 8494

2 & 4-p{y

Superwasfi

See page 50.

NOTE

Purl side is used as right side.

Measurements given are those of fin

ished garment and should not be used
to measure work on the machine.

YARN: King Cole Anti-Tickle

4 ply Wool

FIBRE CONTENT: 100% Wool

COLOUR: We used Shade 146
Coral (A), Shade 10 Amber (8)
and Shade 63 Green Ice (C)
STOCKISTS: If you have any
difficulty in obtaining this yarn,
please write to King Cole Ltd,
Merrie Mills, Old Souls Way,
Bingley BD16 2AX

HEXAGONAL PIECE

Work 10 in each of A and B. Work 8

in C.

Push 24 Ns to WP. Using WY and MT,

cast on and Ka few rows ending CAL.

**Using A, B or C and MT, K1 row.

CAR.

Set RC at 000. Set carr for HP and push

21 Ns at L to HP. *(K1 row. Always
taking the yarn round the first inside N
in HP, K1 row. Push 3 Ns at Lto UWP).
Rep instructions io brackets 7 times
in all. All Ns in WP. K2 rows. CAR.

SIZE

Approximately 80 x 62cm

Always taking the yarn round the first

tions in brackets 7 times in all. 2 1 Ns

King Cole Anti-Tickle 4 ply Wool

at Lare in HP. CAR*. RC shows 30**.

Approximately 90g in each of A, B

Rep from * to * 5 more times. RC shows

3mm crochet hook

K1 row. Pick up loops of first row in

and C.

180. CAR. Set carr so HP Ns will Kand

main yarn and hang evenly on to cor

MAIN TENSION

Based on American
patchwork designs - optical illusiou,
angular baskets and flowers, and others
4.95 or !5.45 with mylar graph
supplement. (24 st. machines)

Colaurways 40 A medley of designs for

40st. machines and electrooics. 40st
J"lllChcard and E6000 graphs iocluded. U.95

.W..

With mylar graplJ supplement for Japanese

machines !!1.45.

Kit Offer
New half-sleeved bolero kit including Paintbox yams top quality4ply wool in S subtly blended autwnn colours. gannenl pattern and
218pesl1}' stitcbpattems. Ai.. sizes 10-14. . 24.115. Inc U.K. p&p

Discs for Brother disc drive

.
....,
I'lI'H
. - : ' mcdl-=

- m
. if .c..-:--:.

(Push 3 Ns at L to HP and K1 row.

inside N in HP, K1 row). Rep last instruc

MATERIALS

PaJchworks 24

responding Ns. Cast off from Lto R.

Each hexagonal piece measures 13.Scm

Using end of yarn from cast on edge

across (from centre of one side to centre

(at centre), gather up centre of hexa

of opposite side), after finishing (ten

gon. 2 sis in from edge, pull tightly,

sion dial approx 8).

with excess fabric to knit side of work

Tension must be matched exactly for

and secure.

one for each boolc - available for all the boolcs listed 5.95

Other Artika Colour books

(24stmachines)

All illustrated in coloor at 4.95 Boo!< with mylar graphs 5.45

Nomtul C,,/kclion Reflecting the burnt colours

and geometric shapes of the carpets and textiles
of the desert peoples of the Americas andtheeast.

J-

.fla.
'Y

.i11J

...

Debut Collection

Illustrated in rich colour

combi.oatioos, a sampler collectioo of fast and
easyfairisleprodu
g snmninglyeffectivefabtics.

rr.tus Colkction Impressions of cobwebs and

woven lace and Olbers
. make up this exciting

.4."-.......
. ....
.
_

"-

the jagged ioou ntain shapes and vibrant colour

cootrasi.. of northern llaly undersoow.

Send cheques, P.Os orSAEs for informatioo to: Anika DesigM P, 41 Dundonald Road, London

N. W.JO 3HP. TeVfax 081968 3315 Please add 1 for Europe, 2 for other overseas poslage.
U.S. Distributor: Maclline Knitting Centre, 5442 Caonas Drive, Qncionati, Ohio45238, U.S.A

65

KAMALINl'S COMPREHENSIVE TUITION

PROGRAMME

THE BEST LEARNING EXPERIENCE

FOR ALL MACHINE KNITTERS
POSTAL PATTERN DESIGN COURSE: Offered in 13 monthly
lessons, to teach the skills and techniques required to design
and make patterns. You knit at least 12 garments and you have
an option for a certificate at the end. Registrations for the spring
term are open now. Course fee of 110 is payable in 4
instalments or a discount advance payment of 100 for full 13
months. BE YOUR OWN DESIGN"ER, SENDl=ORTRE

PROSPECTUS AND REGISTRATION FORM TODAY.

NEW: INDIVIDUAL PLANNED DAY: Spend a day knitting with us.
Learn new techniques, try a new knitting machine or accessory.

INSTRUCTIONAL VIDEO TAPES: Video tapes provide expert

instructions when you want it, where you want it and as often as
you need it. Kamalini's tapes are professionally produced with
lots of close ups for easy viewing and live sound for pleasant
listening. All tapes have supporting booklet with garment
patterns.

Titles

now

available:

1. START KNITTING ON THE BROTHER

for all Brother machines

7. UNDERSTANDING THE RIBBER

for all Brother ribbers

2. START KNITilNG ON THE KNITMASTER for all Studio/Singer machines

3. START KNITilNG ON THE TOYOTA
for all Toyota machine
4. HOLDING POSITION & PARTIAL KNITTING for all Japanese machines
for all Japanese machines
5. GARTER BAR AND WASTE KNITTING
6. KNIT STEAM AND CUT
for all machines
8.
9.

A CREATIVE APPROACH

for all Brother ribbers

FUN WITH COLOURS

for all Brother ribbers

Further information from:

MACHINE KNITTING & DESIGN CENTRE

High Cross House, High Cross, Aldenham, Watford,
Herts WD2 8BN

first round with a slip stitch into first

double crochet

cast on and Ka few rows ending CAR.

chet. Inc 2 sis at each outward corner

Push 24 Ns to WP. Using WY and MT,

Using C and MT, work an 'e' wrap cast

Tel: 0923 859242 (24 hour answer service)

VISA

ACCESS

HALF HEXAGON
Work 4 alike using C

on from L to R. Work as given for hexa

gon from** to** . Rep from* to* twice

BUNTERS
WOOLLEN MRLS LTD
BRORA, SUTHERLAND KW9 6NA
SCOTLAND
*

FOR SHETLAND YARNS IN OIL ON CONE

USED ON
STANDARD GAUGE AND CHUNKY
MACHINES
*

*
*

Third and fourth rounds: Using B,

work as given for second round.

row. Cast off.

Fifth round: Using A, work as given

for second round. Fasten off.

TO MAKEUP
Join hexagons and half hexagons as

HEXAGON VARIATIONS

shown in diagram. Pin out carefully,

A lacy hexagon will result if yarn is not

knit side up, on a flat surtace and steam

taken round the first inside N on HP

press to correct measurements.

sections.

CROCHET EDGE

Colours can be introduced either at

With right (purl) side of work facing,

completion of each triangle section, or

using a 3mm crochet hook and C, start

for more colour, each half triangle sec

at one corner. Work in double crochet

tion (i.e. at the position when Ns are

all round edge; on short sides take

either just starting to be pushed to HP

approx 2 sis for every 3 sis of knitting;

or just returned from HP).

on long sides take approx 1 st for every

There are a lot of potential colour

2 rows and at outward corners work 3

arrangements within the pattern, which

times into the same place, whilst at

will become obvious as you make the

inside corners work 3 sis together. End

hexagons.

*
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YARN WINDERS

If you are a new customer, please send 1 for shade

cards and information on ordering.

USE VISA OR ACCESS TO ORDER BY

TELEPHONE OR FAX

TELEPHONE 0408 621366

FAX 0408 621103
66

and dee 2 sis at each inside corner as

before.

more. Set carr so HP Ns will Kand K1

PURE WOOL ARAN, CLEAN ON CONE

*

Second round: Work in double cro

ACCESSORIES
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send 50p Ito cover p&p) with your name,
address and postcode !printed clearly) to
Hobby Horse. Dept MKT, PO Box 316, Pre
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PDB Engineering Ltd

Manufacturers of yarn winders
and many other accessories.
Catalogue available on
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51/53 Robert Street,
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Tel: (0604) 35937
ARTICLES FOR SALE
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Accessories and repairs. SAE for
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ARTICLES WANTED
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BOOKS

KNITTING MACHINE
JOURNAL
5 for 4 issues.
6000 Journal 9 for numbers
13-18 (6 issues).
For sample copy send 1.25
(please state clearly which
magazine) to:
M M WILMSHURST
Hawthornes, Whitecroft,
Forest of Dean, Glos GL15 4PF.
Tel: (0594) 562161.

COTTON AND CREPE

COLLECTION
Six original easy to knit summer
tops. 3.25.
TAKE THE TENSION OUT OF
TENSION
Tension tables, patterns and
ideas for any knitting machine.
8.99.
Both books available exclusively
from Roz Kellett,
68 St Aubins Avenue, Bitterne,
Southampton S02 8NW.

BUTTONS

BUTTONS

Buttons by Elsie's Wools, also a

huge range of ribbons, bows,
beads, satin motifs, lace and
pearl motifs, lace, rosebuds
and much more.
eg: 45 size 18 fish eye buttons
51p; 40 size 22 for 51p; 30 size
26 for 51p; 20 size 30 for 51p.
Many own brand and unusual
products.
Please send 1 coin for a full
catalogue to
ELSIE'S WOOLS, Dept MKT,
R/0 Dinam Park Avenue,
Ton Pentre, Rhondda CF41 7AT.
Telephone/Fax: (0443) 431500.
TRADE ENQUIRIES WELCOMED

KNITTING MACHINES

YARNS

KNITTING MACHINES
PFAFF E6000 KNITTING MACHINE with
industr i a l motor, UlOOE, Tricofit,
autJmatir. colour changer, Slo11d. video,
Piela, Creauon 6. Hardly used. VGC. Cost
3,500 offers around 2,500. Tel: (0602)
235077 (Nottingham).

LABELS
SILLYEARN PRINTERS- for printed fabric
labels
and
all your
stationery
requirements. SAE for details to Sillyearn
Printers. (Dept P). Sillyearn Croft. Grange,
Keith AB55 3SU.

LOCAL MACHINE KNITTING

.
SHOPS
BASINGSTOKE - KNITIQUE. Bramwell,
Brunton, Christi ana. Books and
accesso ries. Official dealer for
Desi gnaKnit. Easy parking. Afternoons
except Mondays. Viables Craft Centre.
Tel: (0256) 29229.
DISCOUNT SEWING & KNITTING SOUTHAMPTON'S lea ding stockist of
Bramwell, Forsell, Denys Brunton, Royal,
Bonnie's a n d fancies. All ma chine
repairs and spares. Tuition available. 73
Shirley Road, Shirley. Tel: (0703) 333902.

SWANKY KNITTING
AND SEWING

Good stocks of knitting, sewing

machines, haberdashery and
yarns. Patterns and accessories.
Unlimited tuition.
Friendly service.
120 LANCASTER ROAD,
ENFIELD, MIDDX
(Junction 24/25 from M25)
Telephone: 081-367 8793

RIBBON/CHAINETTE
YARNS

including space dyed.

Small/bulk purchases.
Example: 5.95/200g cone
including p&p.
Quantity discounts.
Send SAE for samples.
FOXSTONES YARNS LTD
Greenroyd Mills,
Sutton-in-Craven,
Keighley, West Yorks BD20 7NG
Telephone: 0535 636077

PATTERNS
SELECTION OF SIMPLE EASY TO KNIT
patterns. 18 in all. Jackets. jumpers.
babies' cape, shawl, christening gown
etc. 3.65 + 55p p&p from Greta
Thompson. 2 5 Westland G a r dens,
Sheffield S19 5ES.
PROFITABLE PUNCHCARD PAITERNS. For
12 stitch repeat machines. Send SAE for
details or 2.95 for 12 designs and basic
patterns. Profitable Punchcard Patterns,
663 Carlton Road, Nottingham NG3 7AF

For Shade Cards and

Knitting Tips
send SAE and 3.60 to:

104 Biddulph Mansions,

Elgin Avenue, London W9 1HU
Tel: 071-286 1532
ACCESS/VISA ACCEPTED

MOHAIR CENTRE. British mohair from people

who grow mohair! Smooth yarn (100% and
brushed kid yarn (83%). Free sample skein
and card. Tel: (0825) 872457.

PHONE-A-CONE
031-228 4578

Qali!Y

KnittingYarns

Do you want a supplier of good

quality wool?
Excellent service. Give us a try,
you wGh't regret it.

4 ply Shetland 88 shades

4 ply Lambswool/Silk Knop 12
shades
2 ply Lambswool 22 shades
2 ply Cotton 50 shades
4 ply Acrylic 48 shades

TERRY MASON

Trade enquiries welcome

For our FREE Shade Card send a
large SAE to:

SPECTRUM OWNERS
AMSTRAO 464/6128 OWNERS
COMMODORE 64 OWNERS AND
PC AND ATARI OWNERS
Send now for Terry Mason's famous
programmes
TAPES
CLASSIC STYLES . .. ........... 9.95
FASHION TOPS .
. ........... 9.95
SKIRTS VOL I . .. ....
..... 9.95
TOPS II & CARDIGAN . .... ... ... .. 9.95
Gomp_lete MENU Spectru m Plus 3
GPC 6128, Commodore 64
Atari or MSDOS Discs 34.95

EXCLUSIVE ITALIAN
DESIGNER YARNS ON CONES
100% Pure New Wool,
Super Kid Mohair,
100% Cotton-mercerized,
ANGORA, Wool/Silk blend,
Lame and Metallics.

SIMPLY SHETLAND (M.O. Dept)

9West Port
Edinburgh EH1 2JA

VARN MARKETS {UK) LTD

UPPING HAM
OPEN

* ANY SIZE! * ANY YARN! *

* ANY STITCH! * GRAPHICS! *
*PRINT oun *

TERRY MASON
15 INISHMDYNE GREEN. ANTRIM,
N. IRELAND BT41 4JZ
Telephone: 08494 62381

BUS TRIPS to UPPING HAM

SEWING THREADS
5traigfitfrom tfie mil at
manufacturer's prices

Organisations, parties over 10 persons obtain 10% discount

on retail price, with 2% paid on total net purchases to
organisation. Free coffee. Car park.
Large 2-storey warehouse racked out with all types of yarn,
machine and hand, at industrial prices. Clearance lines.

Cones and spools to suit both

industrial and domestic machines

Send now for information pack tn:

Ew>RE.5.5 MlLl.s (1927) LID, DE!'J' CS
EMPRE&5 SmEEr. Cm.NE, i.ANcs BBB 9HU
TEL: 0282 863181
SEW&SAVE

KINGSTON: 60 Fife Road

Telephone 081-546 8029-(facing railway station)

MAI L ORDER
HOUNSLOW: 40 High Street
Telephone: 081-570 6790
(near bus garage, also very near Heathrow Airport)
Singer System 9000 here now
This statemem does not constitute any part

823747

SEWING THREADS

Ideal for machine lmitting,

Tyson Sewing Machines Ltd

TELEPHONE:
0572

VISA. ACCESS or MASTERCARD

overlocking, dressmaking, craftwork,

lacemaking, machine embroidery etc
etc etc.

Many special offers

D AYS TO THE

Sam to 5pm
weekdays
(10 to 5 Sundays
and holidays)

SEND FOR DETAILS OR YOUR ORDER TO:

NORTHALLERTON. BROTHER. SILVER.

TOYOTA knitting machines. DmniStitch,
Brother and New Home sewing
machines. Cabinets, linkers and
accessories, yarn and Ma deira threads.
Tuiti on. All ava i l a b le at K nitting
Automatic, Zetland Street, Northallerton.
Tel: (0609) 773444.

PUBLIC AND TRADE

,TUITION, CLUBS & CLASSES

NEW IN YORKSHIRE. For all your Duo
80/6000 requirements. Courses, Club.
Spares and Repairs. Marlin Knitting, Unit
9, Bretton Street Enterprise C entre,
Bretton Street, Dewsbury. Tel: (0924)
381703 (24 hours).

BRANCHES ALSO AT
NORTH EAST
RAVENSWORTH ROAD, DUNSTON,
GATESHEAD NEl 1 9AB
TEL: 091-460 8175
OPEN TUES DAY-SATURDAY

MAIL ORDER
Please send me mail order
brochure and details
NAME.,.
ADDRESS ...................................................

SOUTH WALES
DINAM PARK AVENUE,
TON PENTRE, RHONDDA CF41 7AT
TEL: 0443 431500
DPEN MONDAY-SA TU RDAY

Send to: Yam Market.

Uppingham. Leics LE15 9QL
(SAE please)

MKT

of an offer or a contract All advertisements contained in this magazine have been accepted on the understanding that any description of goods. services etc are accurate and true. Whilst every effort is made to ensure
by the publisher nor any person in its employment nor any guaramee given in the case of any dispute or claim. Any goods or services supplied under any of the advertisements
It is advisable to check prices at the time of ordering goods etc.

that information given is correct and reliable, no responsibility can be accepted

published are not the responsibility of Profitable Machine Knitting. We will, however, investigate any complaints. No recommendation on the part of the publisher is to be implied.

Available from newsagents and woolshops

or Lithame Ltd
Telephone 0789 720604