Knitting magazine issue 227 is out and it's all about texture.
I've a couple of patterns and tutorial in it but today I'm just showing you Anika.
This short-sleeved 4-ply top is worked bottom-up in the round on the body and sleeves which then join for the yoke (don't ask about working out yoke shaping for 10 sizes!).
It features a slip-stitch texture pattern which is easy to work but very effective. I used Cascade Yarns Heritage for this which means a vast range of colour combinations - and as mention above the pattern offers 10 sizes. But any nice plain 4-plys would work for this - or perhaps a variegated for the contrast.
I'll share the other design later in the week.
My two patterns in Knitting Magazine this month (issue 223) are all about comfort and as I am having a sofa day today, I'm delighted to have the samples on hand so I can try to replicated the pictures in my own home.
Duality is a chunky lace wrap/bedrunner with an unusual construction that I hope you will all enjoy. The lace is worked separately on either side on the central spine running along the full length. The yarn is Cascade Yarns 128 which gives a soft, cuddly finish.
The Slouchy Sofa Socks are intended to be indoor socks for relaxing in and feature cables and ribs as well as a ribbed short row feel. For extra squishyness, they're knitted in #SocksYeah DK.
Have you noticed that I like detail? I don't tend to make plain items but that doesn't mean all over pattern.
The Hemingford sweater has a plain stocking stitch body with loose lacy sleeves which add a little glamour.
It is knitted in Cascade Yarns Heritage 4-ply which is one of my go-to fine sweater yarns and the pattern can be found in The Knitter issue 167 out now. The sample is in a very on trend Coral shade but the yarn comes in a wide range of colours so I am looking forward to seeing what people choose.
Wow what an exciting five years.
Purple Rain appeared in Knitting magazine five years ago this week.
It was my first every paid pattern for a magazine. Who knew what was going to happen next? I certainly didn't expect it to change my life but it has to some extent.
Now my tally is round about 100 patterns for magazines and growing every month. Plus other collaborations and patterns – and now I am in the midst of a book plan!
I never expected this and, to be honest, I sometimes have to be reminded I am a knitwear designer.
To celebrate I’ve knitted myself a new version of Purple Rain is a gorgeous skein of Olann Sock Lite and republished the pattern - I tucked the original sample away so carefully I can't find it now!. It is a long crescent shawlette where the lace section, featuring nuup raindrops, is knitted straight and then simple short rows in the stocking stitch section creates a curve.
You can find the pattern for half price until 24 August 2021 on Ravelry and in my pattern store plus there is 5% off all my patterns available on Ravelry and Payhip using the code PURPLEPARTY5 during the same period.
It really is no sew apart from weaving in ends.
The body is knitted in one piece to the armholes and the shoulders are joined using a three needle cast off.
The sleeve stitches are picked up round the armhole and then shaped using short rows.
Finally, the lace edgings are added using a knit on technique.
The brief was for a garment with less common construction so I set out to create something without sewn seams but which wasn't a yoked sweater or a top down raglan.
It was a fun challenge and I think the result is rather pretty. But what's really important is that none of the techniques are really difficult, just take it step by step.
Find the pattern in Knitting Magazine issue 215 where you just might find another pattern and an article by me!
It's no secret that I have a bit of a hand-dyed yarn habit. I am drawn to rich and deep colours and unusual combinations but to control myself I try to focus on choosing yarns where I can see an outcome for the skein.
For a while now I have been admiring, and occasionally buying. the work of Helen Reed of The Wool Kitchen. I like the yarn bases she uses and her strong colourful dyeing style.
I particularly like skeins such as these in the Cosmic Girl colourway with a saturated main colour with flashes of contrast. And for a while I had been contemplating a "radial shawl" using this or a similar colourway. A radial shawl is a style I have adapted for myself with wedges of short row shaping and a wide lace edge section creating a semicircle. They work with yarns with long colour changes and I thought that the short runs of contrast colours in these skeins would also create an interesting effect.
Then Christine Boggis, the editor of The Knitter, told me she was planning an issue based on hand-dyed yarns. I immediately started a list of my favourite dyers and pulling out notes about ideas I'd had for different yarns. Top of the list was a shawl in Helen's yarn.
While I was pulling my ideas together, Christine was in touch again to ask if I knew of The Wool Kitchen and would I be interested in working with Helen.
Don't you just love it when a plan comes together?
It was delightful to work with Helen to get her advice on what colourways work in what bases and then to come up with the Electric Storm shawl complete with lightening flashes of neon on a deep blue ground. This is a shawl that brought me a lot of pleasure to create and I think it really shows off Helen's colour sense and her dyeing style. And I'm really looking forward to seeing other people's versions.
This is unlikely to be the last time I work with Helen's yarns. I have some more sitting here and why writing this post I had to pop over to her Etsy shop which means I have been tempted by some new colourways.
Those who follow me on social media may notice that I continue to be excited whenever one of my designs appears in a knitting magazine. I came to designing - well designing in a public and business way - later in life than many and as a designer I feel I am a mere infant. As a result every time someone understands and appreciates what I am trying to achieve, it is another milestone.
In part this is what makes a design of mine appearing on a cover special. But it is more than that. For a long time I was a magazine editor. Not in the knitting arena but when it comes to covers that doesn't matter. Any editor working on any magazine - whether that be news stand, subscription or arriving due to your profession on any subject, engineering, healthcare, photography, fashion or craft to name a few - will tell you how important the cover is.
Your cover is what makes people take your magazine off the shelf in the newsagent or open it when it lands on their desk. If your cover doesn't work, it may mean that all the other content you've worked so hard on goes unseen.
Every cover involves thought and collaboration. The editor, designer and others may come up with several versions before the right one emerges. Illustrations and photo shoots are planned with suggestions of what might work on the cover. It also requires a knowledge of your audience and what attracts them.
So when this happens...
... and three of my pieces are on covers simultaneously I feel particularly grateful.
This means that my idea and execution, the styling, the photographer's and editor's vision and so much more have come together to create something the magazine team will really resonate with their readers.
And for completeness the pink and cream striped vintage jumper in Simply Knitting is in Yarn Stories Fine Merino 4-ply, Aza, the raspberry sleeveless top from Knitting, uses The Knitting Goddess's One Farm Yarn and the light green Cobwebs in the Rain wrap on The Knitter is in Jamieson and Smith's 2ply lace.Without the right yarn none of it would work.
I came late to sharing my knitting designs let alone receiving commissions from magazines and yarn companies.
I have had a long career as a journalist but I still remember the excitement of having a bylined piece in a major national newspaper for the first time. I had to suppress the urge to tap fellow tube passengers on the shoulder, point to the article they were reading and say "I wrote that".
The same sort of thing has happened each time I have had a design on the cover of a magazine. Right now I could happily spend time in various branches of WH Smith rearranging the hobbies shelf so that there are lots of copies of Knitting (issue 172) along the front to show off my Autumn Leaves tunic.
I love the editorial description that the mag team came up with. It sums the pattern up as the perfect mix of challenge and TV knitting because there is some instarsia and plenty of stocking stitch.
It is designed to be a simple flattering piece for over leggings or a skirt that is a comfortable but striking seasonal garment.
Yarn used is Yarn Stories fine merino 4-ply - very smooth with strong colours which work well for this design.
The magazine has come up with some alternative colour combinations that make the leaves seam more like feathers.
A call for pattern designs using British yarns recently gave me the opportunity to work in a yarn I had been admiring for a while - Shetland Supreme Lace Weight 2ply from Jamieson & Smith.
I was interested in working with the natural colours and fine sheepiness of this pure wool lace yarn that comes in 25g balls, as well as 500g cones if you are planning a couple of large shawls.
This is one of those magical laceweights that looks rather unexciting as you work (especially as I had chosen the natural grey) but once blocked turns into a delicate, wisp of a fabric with a beautiful sheen. In the case of the Summer Stole, I guarantee it also lives up the the legendary idea of your shawl passing through a wedding ring.
I chose to create a stole for Knitting magazine (issue 170) because I find this one of the most versatile shapes to take a lace knit through the year. As a summer pattern, the Shetland Summer Stole is perfect for creating glamorous cover up in an evening chill or over a dress at a wedding or summer party. In autumn it can be draped over a smart outfit to add an extra layer. And a lace stole can even be wrapped round your neck a couple of times with a winter coat to keep out the cold in January.
The lace motifs come from tradition Shetland patterns, although I have adapted them a little and the stole is less traditional using a stocking stitch ground rather than garter stitch in this case.
It is made in two sections which are grafted together to give the pattern symmetry. If you drape the shawl round your shoulders, the pattern will fall the same way on each of the falling ends.
This shawl is described as an advanced knit but don't be afraid of having a go. The pattern repeat in the main body is actually very straight forward and while the end sections are more complicated, they are only a small proportion of the knitting.
And if it helps I am planning a few how to posts over the summer around lace knitting.
I love a cable or two. They add interest to both design and the process of knitting and you can use them to aid construction or shaping, so I was very excited a few months ago when the editor of Knitting magazine put out a call for design submissions for a cable special.
I was even more excited when I was commissioned to produce my modern take on a traditional aran-style cable jumper in a natural off-white yarn.
It was a design I'd enjoyed coming up with and it was also a sample I really enjoyed producing (I just need the time to make one for myself).
Given how much I loved this design, it was a true pleasure to see it as the cover garment for the March 2017 issue of Knitting.
The magazine has labelled the design as "advanced" but don't be alarmed, if you have mastered basic cables, all that is happening here is and arrangement of various types, the technique is the same. Take a look at my posts on understanding cable instructions to boost your confidence (part 1, part 2, part 3)
I used New Lanark Aran for the design - an affordable, hard working yarn that I am a big fan of and one that comes in a wide colour palette. Knitting has some suggestions about other colour choices.
I am really looking forward to seeing versions of this cosy jumper.