It’s been a while since I’ve posted an FO. So here is Brina, the second in my A-Z of shawls.
Brina is a crescent shawl with short-row shaping, from the queen of that technique, Susanna IC. The pattern is from Twist Collective, one of my favourite pattern sites.
Brina was the chance for me to vanquish one of my knitting demons: nupps. For the uninitiated, nupps are a particular type of bobble, common in Estonian lace knitting. They create quite a flat bobble, unlike the more pronounced bobles typical of Wastern knitting styles. They are conventionally worked by increasing stitches in one row, and then purling them together on the next WS row. Being able to do that depends on leaving your stitches loose enough that you can manipulate them on the reverse row, with the added trickiness of putting a needle through and then purling together anything up to 7 stitches. I frogged an entire lace shawl once out of frustration at not being able to master the nupps in it. So I was determined to learn how to do them.
I’m afraid I cheated a bit on this shawl. I used the crochet hook method. It involves finishing the nupp on the RS row, and using a hok to pull the yarn through all the loops. It may be cheating, but it worked. It’s definitely a technique I will use again.
The yarn I’ve used here is Nimu Lingmell. It’s a lovely spatter-dyed wool/silk blend in a 4ply weight and this skein was in a 150g size that was the perfect yardage for this pattern. The colourway is called Bright Flashes of Panic, and it was part of a limited edition yarn club run by the dyer a couple of years ago. Nimu sadly don’t produce much yarn at the moment (the dyer has gone back to full-time education, which is taking up her time) but if you watch the Nimu Facebook page you will occasionally see a destash or a summer yarn club like the one where I got this yarn.
The shawl blocked out to be a lot shallower and wider than I was expecting, but that makes it the perfect length to wind round one’s neck loosely while still displaying long tails. It’s a great extra layer for those coool early Autumn days.
One of my aims for this year, is to make a bit more of a dent in my stash of laceweight and sock yarn. So, inspired by a friend of mine, I’ve decided to copy her idea and start an A to Z of shawls. It’s a pretty simple idea: pick a pattern from my ever-growing queue on Ravelry that starts with the appropriate letter, match yarn to it and get knitting.
First up, is Alberta.
The pattern is by Anne-Lise Maigaard. It is based, in part, on the famous designs by Herbert Niebling. Niebling is known as the father of modern lace knitting. He collected and documented traditional lace knitting patterns, and they are still used as the inspiration for modern patterns.
Despite the complexity of the design, this was a surprisingly easy and fast shawl to knit. There is a lot of interest in the design, which made me really want to keep picking up my needles to make progress.
The yarn is Sparkleduck‘s Harmony, in a colourway called Rosemary Remembers. It’s a 50/50 merino silk blend, which I bought at Festiwool. It’s quite a subtle colourway, but I love the bright flashes of violet and lime green that pop through it. To me, they are suffragette colours, which is one of the things that drew me to this skein of yarn in the first place.
It turned out I also had the perfect beads in my stash too. These are a 6/0 bead in a pretty pink with an AB coating. That iridescent AB coating perfectly matches the variegation in the yarn. The weight of the beads also adds a lovely drape to the shawl. I used around 62g of beads in all (of the 66g that I had), and was panicking that I was going to run out of them – these were not the most uniform of beads, and I had a lot of mishapes and discards to get rid of.
But I’m really pleased with how it’s turned out. Onto the letter B …
I’ve posted before about Third Vault Yarns. Lola is fast becoming one of my favourite indie dyers, both for her amazing eye for colour and her playful geekiness.
Earlier in the year Lola decided to commemorate the discovery of water on the planet Mars with a cheeky Doctor Who inspired colourway called Waters of Mars. She test-dyed some skeins of yarn and put the samples up on Facebook for us to comment on. I’m not normally a fan of greens, but I instantly fell in love with this skein and Lola kindly sold me her sample.
The yarn is Lola’s Echo DK base. It’s a squooshy, bouncy, pure merino that’s a joy to work with.
It’s the mark of a fantastic dyer that not only did I fall in love with a colour scheme I wouldn’t normally go for, but pretty much as soon as it arrived with me I had a pattern picked out, had wound the yarn and cast on. Rarely has it been plainer to me what a skein of yarn wants to be: Don’t Drink The Water.
The pattern for these fingerless mitts is Magnolia, by Susan Pandorf. I love the lace detailing and the picot edging, and the way it shows off the beautiful dyeing. I’m pretty fussy about the thumbs on mitts, and these are perfect. The pattern has separate instructions for both right and left hands, with proper gusseted thumbs.
These will be perfect for the colder weather coming.
And to close out Wool Week, I thought I’d leave you with a final FO.
I actually finished this shawl several months ago, but I only got round to blocking it last weekend. I had the boards and pins out for my Glasgow Rose, so it made sense to finally finish this one off as well.
The pattern is Tendrils, by Susanna IC. It’s one she designed for Twist Collective, my favourite online knitting magazine. She specialises in crescent shawls shaped with short rows, and I’ve made a couple of her designs. It’s a very versatile and flattering shape that makes the most of a skein of yarn.
This yarn is I Knit or Dye‘s Eat To the Beat. It’s a lovely mix of silk and camel in an airy laceweight. The yarn was a gift from my MIL, who bought it for me one year at Woolfest when I wasn’t able to go. She clearly knows my tastes well: this dusky mottled purple is one of my favourite shades.
It’s a beaded shawl, using about 20g of 6/0 beads. I really struggle with matching beads to yarn. I’m nervous about too obvious a contrast, but too close a match risks the beads being lost in the pattern. I’m hoping the smoky amethyst beads I’ve used here (which were a near perfect colour match for the yarn) will add a subtle sparkle without overpowering the shawl.
There’s something magical about blocking lace knitting. You take something that’s crumpled and eggboxy and turn it into the airiest, crispest, most beautiful thing. Blocking lace appeals to the same part of me that likes a good Ugly Duckling story.
I took my Glasgow Rose Shawl on holiday with me to Prague (blog post on that to follow when I get the time to put my thoughts in order). I was desperate to finish it and have time to block it before going to Glasgow for a long weekend (blog post also intended), where I planned to wear it. The Charles Rennie Mackintosh inspired design was perfect to take and wear in his home town.
I’d finished the main set of charts quite a while before I left for Prague, but I had the option to keep doing repeats of the main section and edging until I (nearly) ran out of yarn to make it larger. So the clock was ticking. I finally cast it off with 15g of yarn remaining, with each repeat of the edging charts taking … about 15g of yarn. Which is close enough for comfort! I really didn’t want to risk another repeat. All in all, I managed five extra repeats of that edging chart, giving me a much bigger shawl than it might otherwise have been.
As always, the blocking process did not disappoint. My shawl grew by about a third once it was wet and pinned out, and the proportions changed completely. What was quite a shallow triangle pre-blocking became much more even. I could probably have even squeezed a bit more size out of it if I’d stretched it further, but I didn’t want to risk snapping the single ply yarn (single ply can be pretty fragile) and, let’s face it, I’d run out of space on my blocking mats on the spare bed.
For those of you wondering, the yarn is Madeleine Tosh Prairie in a colourway called Coquette. I bought it at Unwind in Brighton last year. It’s a very intensely dyed single ply yarn, with subtle variegation in the colour.
The pattern (designed by Lucy Hague) is relatively straightforward. It’s worked from the point up, with the edging knitted as one goes. The most complicated part is the rose motif at the point, which includes some quite complex 3-into-7 stitches. It needed a lot of concentration,. But by the time I’d got to the top, the bold and graphic design meant it had transitioned into pub knitting.
I’m really pleased with how it turned out.
Last night I finished my Pinnate Cardigan. It’s made in some Rowan Lenpur Linen that I picked up in a John Lewis sale a couple of years ago.
It’s a loose fitting cardigan with lace panels up the fronts and an openwork lace panel on the yoke, front and back.
It was very easy and fast to knit, and the wrap around collar made by extending the lace on the fronts and grafting at centre back is clever and effective. It’ll be a perfect summer cardigan for cooler evenings and should transition well into the autumn.
The Lenpur Linen (a linen and viscose blend) shows the texture in the lace really well, but I found it quite splitty and tough on the hands in long knitting sessions. The body of the cardigan was using it at such pace I was paranoid about running out and was trawling Ravelry looking for extra balls in this dyelot. But luckily I managed to get it out of the 10 balls with a tiny bit leftover.
Of course, I’m now battling startitis. I should be making progress on my lace shawl. So, my own personal Imp Of The Perverse has insisted I cast on a hat in some red tweed I picked up while on holiday, and is suggesting now would be the perfect time to start the Octopus Sweater, because colour work in chunky weight alpaca is clearly the perfect thing to knit in June …
Increase, Decrease is a new book by Judith Durant (published today by Storey Publishing) which focuses just on multiple different ways of increasing and decreasing stitches. It starts from the most basic k2tog and kfb, exploring increase and decrease stitches of increasing complexity, including multiple increases and decreases, and decorative stitches.
To be honest, I’d expect most knitters to be able to do simple increases and decreases, so some of those sections seem a bit superfluous, but the sections on complex stitches would be of great value to those designing knitwear, particularly lace knitting.
The instructions and photography are both clear and helpful. If I have one gripe, it’s that the book uses very US-centric terminology, and doesn’t refer to the multiple names different increases and decreases can be known by (I’ve seen the same increase called several different things depending on who is writing the pattern).
So, one for technical knitting nerds and pattern designers more than the ordinary knitter.
Goodreads rating: 3*