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This book is dedicated to Bob and to Philippe.
You are our reasons for being.
Knitting
Know-How

Dorothy T. Ratigan
& Judith Durant
Contents

Introduction

Part I
Materials and Tools

Chapter One: Yarn

How Yarn Is Sold
What Yarn Is Made From
Ply and Twist
Weight, Gauge and Hand
How to Substitute Yarns
Estimating Yardage

Chapter Two: Needles

Needle Composition
Needle Types
Needle Sizes

Chapter Three: Working with Patterns and Charts

How to Read a Pattern
Common Abbreviations
Reading Charts

Part II
The Basics
Chapter Four: The Stitches
The Knit Stitch
The Purl Stitch
Twisting Stitches
Slipping Stitches
Combining Knits and Purls
Other Ways to Manipulate Stitches
Styles of Knitting
Starting a New Yarn and Weaving in the Ends
Fixing Mistakes

Chapter Five: The Edges

Casting On
Selvedge Edges
Picking Up Stitches
What If I Knitted the Wrong Type of Edge?
Binding Off
Special Considerations

Chapter Six: Shaping

Increases
Decreases
Short-Row Shaping

Chapter Seven: Flat and Circular Knitting

Flat Knitting
Circular Knitting
Troubleshooting and Special Considerations
Part III
Decorative Knitting

Chapter Eight: Color Knitting

Fair Isle Knitting (Or Not)
Intarsia
Mosaic Knitting
Mitered Knitting
Double Knitting
Working with Hand-Painted and Variegated Yarns
Multicolored Ribbing
Two-Color Braids
Duplicate Stitch
Cross-Stitch
Embroidery
Knitting Stripes in the Round

Chapter Nine: Cables

Types of Cables
Traveling Stitches
Accents
Panels
Cabled Ribs
Background Stitches
Planning Cable Designs
Fixing Mistakes

Chapter Ten: Lace

Special Decreases
The Magic of Blocking
Fixing Mistakes in Lace
 To Chart or Not to Chart
Lace Edgings

Chapter Eleven: Knitting with Beads

Beads for Knitting
Stringing Beads
Bead Knitting
Beaded Knitting
Slip-Stitch Bead Knitting
Hooked Bead Knitting
Carry-Along Bead Knitting
Beaded Cast On

Part IV
Garment Planning

Chapter Twelve: Planning Projects

Why Gauge Matters
Measuring Body Parts
Planning for Sweater Ease
Negative Ease
Sweater Shapes
Balancing and Centering Patterns
Planning Aran Patterns
Knitting in Different Directions
Altering Patterns

Chapter Thirteen: Sleeves

Drop Shoulder Sleeves
Raglan Sleeves
Set-In Sleeves
 Saddle Sleeves

Chapter Fourteen: Necklines and Collars

Neckline Shapings
Collars

Chapter Fifteen: Pockets

Pocket Placement
Basic Horizontal Pocket
Vertical Pocket
Diagonal Pocket with Decorative Edge
Kangaroo Pouch
Patch Pocket
Afterthought Pocket

Chapter Sixteen: Closures

Button Bands
Buttonholes
Zippers
Frogs

Chapter Seventeen: Finishing and Storing

Blocking, Cleaning and Storing
Special Considerations

Part V
Project Lessons
Faux Earflap Hats
Beady Cable Gloves
Double-Knit Mitts
 Diamond Central Scarf
Stranded Lattice Socks
Austin’s Jacket
Ambrosia Sweater
Lisdoonvarna Aran

Resources

Bibliography

Acknowledgments

About the Authors

Introduction
Dorothy and Judith met in the mid 1990s, when Judith was book
editor at Interweave Press and Dorothy worked as a freelance
technical editor for Interweave’s knitting books. When Interweave
Knits magazine was launched in 1996 with Judith as co-editor,
Dorothy was a big part of the enterprise, both as technical editor
and writer of the “Beyond the Basics” column. And, of course, we
both contributed designs. Although Judith had been knitting for
more than thirty years, it wasn’t until knitting became a big part of
her working life that she realized how much she didn’t know.
Early on in the relationship, Judith saw the potential for
gathering Dot’s knitting knowledge into a book to share with the
world. The problem was finding the time to do it. While Dot had
gathered an enormous amount of knitting know-how, it wasn’t
collected and filed in any particular order. Some things were written
down; many things were not. No disrespect intended, but Judith
likes to say that each bit of Dot’s information is stored on a sticky
note in her brain; you never know which sticky note may fall out at
any given time, and there’s no way to easily access the one you
want. We tried to start pulling it together a while back, but the need
to work on other projects to pay the bills kept us from completing
the task.
When F+W Media offered us a contract to do the book, we finally
had no choice but to get to it. Judith caught Dot’s sticky notes as
they dropped and made a list. We then added some of Judith’s
know-how to the list and came up with a master plan. As we worked
through our outline, we remembered questions frequently asked by
our students and made sure we answered every one of them. And as
we worked through the chapters, we realized once again that
knitting is an ever-evolving craft, and that there is almost always
more than one way to solve a problem. So, rather than just present a
dictionary of techniques, we chose to include only those that have
worked best for us over the years. And we’ve done our best to
describe why we’ve chosen these methods over others.
The book you hold in your hands represents a combined 100+
years of knitting and 50+ years of teaching experience. We don’t
know everything, but we do know a lot and hope that this know-
how will help you become a better knitter and get even more
pleasure than you already derive from our favorite craft.
Part I
Materials and Tools
Knitting has come a long way since its beginnings in the
thirteenth century, and we’re lucky to have a huge variety of
yarns, needles and other tools to work with.

Chapter One discusses yarn in detail: what it’s made of, how it’s
twisted, the various weights available and how it’s sold. Here you’ll
learn how to read a yarn label and how to use that information to
substitute one yarn for another. Also included is a chart for
estimating how much yarn you’ll need for sweaters of various sizes,
which is handy to know when you encounter a “must-have” yarn
but have no idea what you’ll be knitting with it.
Chapter Two covers needles and needle sizes. There are
choices to be made in materials, lengths and shapes: straight versus
circular and even round versus square. Needle choice, like most
things in knitting, is a matter of preference. But once you’ve tried
various tools, you may find that with needles, you get what you pay
for. If you’re into knitting for the long haul, use the best tools you
can afford.
In Chapter Three we discuss perhaps the most important tool
for most knitters: the pattern. The most luscious cashmere yarn
knitted on solid-gold needles will not yield a good result if you don’t
know how to follow the pattern. You’ll learn about measurements,
yarn requirements and required tools. We also provide a list of the
most commonly used abbreviations in both text and chart form. We
explain what those parentheses mean and how they differ from
brackets, and if you’ve wondered what those asterisks are doing in
most patterns, the answer is here.
1 Yarn

Y arn for knitting is spun (or not) from a veritable plethora of

fibers: some are organic, some are synthetic and many are a
blend of several materials. Some yarns are so fine they seem
appropriate for cobwebs, while others are bulky enough to make
into rugs. Yarns are packaged in several standard weights (with
exceptions, of course) but the yardage varies greatly between the
packages. This chapter will help you find your way through the yarn
maze.

How Yarn Is Sold

Yarn for handknitting is most commonly sold in balls, skeins or
hanks. Ribbon and other novelty yarns are often sold on spools.
Yarn for machine knitting and weaving is usually sold on cones,
though this yarn can also be used for handknitting. It’s not clear to
us why or how manufacturers choose which way to package their
yarns for retail. You can find wool, cotton and other fibers presented
in all these forms. It’s interesting to note, though, that luxury yarns
are almost always sold in hanks.
 FINDING THE CENTER PULL
To find the end at the center of a ball or skein, insert your
thumbs and index fingers into opposite sides so they meet in
the center. You should feel that one side of the center hole is
looser or more open than the other; the yarn end should reside
in the more open part of the hole. Fish around until you feel
the end and gently pull it from the center and out of the more
open end. It’s not always possible to find the very end, but you
can usually locate the initial wraps and pull out a few yards to
begin.

Balls of yarn are just what the name implies: The yarn is wound
into a round shape that usually weighs 50 or 100 grams (1.75 or 3.5
ounces). Yarn wound into a ball is ready to knit, and most balls are
wound so you can pull from both the center or the outside. This is
handy when you want to knit with two strands held together.

A ball of yarn

A skein of yarn

A hank of yarn, untwisted

The terms skein and hank are often used interchangeably, but
they’re not actually the same thing. A skein is yarn that’s been
wound similarly to a ball, except the shape is oblong. Like balls,
yarns wound into skeins are ready to knit, and most of them can
also be worked from the center or from the outside.
A hank is a loosely wound circle or ring of yarn tied in one or
more places. Hanks are usually twisted for retail sale. Yarn sold in a
hank needs to be wound into a ball before it can be knit.

SWIFT AND BALL WINDER

Two of the best tools a knitter can own are a swift and a ball
winder. While you can hang a hank of yarn over the back of a
chair or employ the arms and hands of a willing friend, a swift
will hold the yarn securely while you wind it into a ball. A
swift looks something like an umbrella frame, and it can be
adjusted to hold hanks of various sizes. From the swift you can
wind a ball by hand or employ a ball winder. These handy
items clamp on to a table edge and wind a nice, neat ball of
yarn that can be knit from the inside or the outside.
WINDING A CENTER-PULL BALL
If you don’t have a swift and ball winder, winding a center-
pull ball is the next best solution. The center-pull ball allows
you to knit without worrying about your ball of yarn rolling
all over and possibly falling on the floor.

1 Wrap the end of the yarn around your thumb four times.
With your palm facing up, work a figure eight between the
thumb and little finger four times.

2 Take the wraps off the little finger and fold them onto the
wraps on the thumb.
3 Remove the wraps from the thumb and, keeping the initial
wraps around the thumb, rest the thumb on the index and
middle fingers. Wrap the yarn loosely around the initial wraps
and three fingers about thirty times.

4 Keeping the thumb in the center of the ball and in contact

with the initial wraps, remove the yarn from the fingers
and rotate the ball about 90 degrees. Wrap the yarn around
the wound yarn and all fingers about thirty times.

5 Repeat Step 4 until all the yarn is wound and tuck in the
tail.
 6 Remove the thumb with the initial wraps from the center
of the ball. This becomes the end you can begin knitting
with.

Spooled yarn is wound around a cardboard cylinder and can be

worked from the outside only.
Coned yarn for machine knitting is wound very tightly and is
usually lightly treated with an oily or waxy substance so it moves
through the machine without getting caught on any of the parts. If
you want to handknit this yarn, it’s best to rewind it into hanks and
wash it before starting. Using cotton waste yarn and a figure-eight
tie, bind the hank in four areas. Wash the hank in mild soap and
then rinse until all the soap is removed. Gently squeeze out most of
the water. Roll the hank in a towel and press gently to remove more
water. Place a dry towel over a shower curtain rod or the back of a
chair and drape the yarn over the towel. Move the hank about 45
degrees every few hours or when it begins to feel dry at the top. Do
not hang anything on the wet skein—this will stretch the yarn.
When completely dry, wind the yarn into balls for knitting.

How to Read a Yarn Label

Yarn labels come in different formats. The labels from one company
will have more or less information than those from another
company, and the information may be presented in various ways.
Here are a couple of examples.
 In the first example (below, left), the Craft Yarn Council (CYC)
symbol for yarn weight, which in this case is 3 Light, is included.
The gauge and care instructions are written in text form.
In the second example (below, right), no yarn weight is given, but
you can deduce that from the recommended gauge. In this case the
gauge is presented as a grid showing the number of rows and
stitches per 4 (10cm), and the recommended needle size in metric
and US sizes is given below the grid. In this case the recommended
gauge is twenty-two to twenty-three stitches per 4 (10cm) on a US 4
needle, putting the yarn in the 2 Fine category. Recommended
gauge could put this yarn in the 3 Light category, but considering
recommended needle size, we’d categorize it as 2 Fine. Care
instructions are given in symbols indicating that the yarn can be
machine washed at 104 degrees Fahrenheit (40 degrees Celsius) but
cannot be washed with bleach. After washing, the label instructs to
lay the knitted piece flat to dry and to press with a cool iron.
Ambrosia yarn label
 Hempathy yarn label

What Yarn Is Made From

Yarn was traditionally made of two types of fiber: animal or plant.
The nineteenth century saw the introduction of cellulosic fibers,
which are made from plant materials processed down to a liquid
solution that then hardens into a spinnable fiber. Synthetic and
manmade fibers such as nylon and acrylic were introduced at the
beginning of the twentieth century, and the start of the twenty-first
century has seen the introduction of alternative fibers made from
unlikely materials such as chitin (shrimp and crab shells), milk and
jade.

Animal Fibers
Wool should be last in this alphabetic list of animal fibers, but
because it is the most widely used knitting yarn, we’re placing it
first. Wool comes from the fleeces of a large variety of sheep breeds
and is produced in many countries. Wool has many qualities that
make it the ideal fiber for handknit clothing. It is a warm fiber that
can absorb up to 30 percent of its weight in moisture without
feeling cold and clammy, which is great if you’re caught in a sudden
snowstorm. Wool fibers have a lot of memory, meaning they won’t
stretch out of shape over time. When you wash a wool garment and
lay it out flat, you can push everything back into shape, even
manipulating the overall garment size if necessary, and once it dries
it will remember this shape and hold on to it. Wool is also naturally
flame retardant. The length of the fiber (staple length) determines
the quality of wool: Its softness increases, and its strength and
elasticity decrease as the fiber gets shorter. Most wool yarns are a
blend of fibers from different breeds, though some are breed-
specific, such as merino and Icelandic.
Lambswool comes from the first clippings of baby lambs and is
very fine and highly valued.
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