Designing an Aran by Charles Gandy

Recognized the world wide, Aran is distinguished by its high-relief textures of cables, bobbles, and interlacing stitches. Originating in the storm-washed Isles of Aran (Inishmore, Inishmaan and Inisheer) that lie at the mouth of Galway Bay on the Irish Atlantic coast, these “fisherman’s sweaters” have a controversial history and pedigree, filled with myths and legends.

Aran sweaters are knitted flat with rectangular panels for front and back that differ only by a slightly shaped neck for the front panel. The shoulders are either knitted as dropped shoulders or the saddle shoulders (recognized by a narrow “band” that emanates from the top of the sleeve and runs along the top of the shoulder). Typically the design features a central panel, worked in an intricate cable pattern over a textured background, (often a Reverse Stockinette stitch), flanked by symmetrical side panels of smaller cables and textured panels that may or may not include bobbles, popcorn stitches, and other textural stitch patterns. Sides are traditionally finished with seed (or in British terms, “moss”) stitch panels that allow for some flexibility in sizing. Ribbing finishes the bottom of the sweater, sleeves and neckband, picked up after pieces are seamed together. This is often distinguished by a combination of classic knit and purl ribbing with the occasional introduction of small cables. Because of its insulating qualities, bainin (pronounced bawneen and meaning natural), a creamy thick woolen , is traditionally used for Aran knitting.

Although some popular folklore claims that Aran knitting can be traced back to Celtic aesthetics with patterns that symbolize blessings and protections that were specific to a particular family and handed down from generation to generation, it is more plausible (and now accepted by most authorities) that these sweaters developed from the traditional Scottish Gansey or FASHION “Fisherman Shirts” taught to knitters of FRAMEWORK: Aran by the young Scottish women who Designing went to the Aran Isles to work in the fishing an Aran industry.

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Copyright 2014 The Knitting Guild Association. Cast On content is for readers' personal use and may not be shared or reproduced without permission from the editors. continued from page 45 and of course, sweaters. Hats off to the coupled with needle size and tension of your “traditions” of Aran knitting! knitting. Experimentation will allow you to find the “proper” for your project. FF These Gansey sweaters Arans are relatively easy to design and make. Ideally you want a fabric that is firm enough took their name from There are just a few guidelines that will make to emphasize the cables and textures, and the that it easier: soft enough to be comfortable. Remember, has been called “Guernsey” or “Jersey” there is no “right” or “wrong” gauge, just dating back to the sixteenth century when Yar n “your” gauge. Also remember, that if you Queen Elizabeth I set up knitting guilds Like any project, selecting proper yarn will “never” do gauges, this is a time you really on the Channel Islands for production make a difference. Arans can be successfully “must” do them. Sorry! of hosiery. By 1832 there are references made with any weight yarn, with the possible of men wearing “guernsey frocks.” These exception of a lace-weight. Obviously, a finer Silhouette textured sweaters, knitted in the round of weight yarn will result in a tighter gauge Take time to consider the silhouette of your dark lanolin-laden yarn, resisted dampness and more stitches to the inch and thus more finished garment. Traditionally, Arans are and provided warmth for fishermen. The opportunity for cables and patterns. But made with saddle shoulders, drop shoulders, addition of a gusset under the arm added don’t be alarmed, if you don’t enjoy working or raglans. Each offers its own pluses and extra comfort. The heavily textured patterns on small size needles and yarn, a DK, sport is just a matter of personal preference. So, slowly began to evolve with the addition or worsted weight yarn will do just fine. You decide which silhouette is best for your of cables and more and more embossing can even be creative and use a bulky weight project and design accordingly. to the point that by the early 1930s there for a contemporary approach. are examples of sweaters that more closely Pattern Layout resemble what we recognize as Aran knitting The texture and color of the yarn are What makes an Aran an Aran is the use of today being sold in a Dublin shop called equally important. It is probably best to textures and cables. Since there are hundreds the Country Shop in Dublin, a store run avoid heavily textured or novelty . All of different cables and textures that can be and supplied by Countryworkers Ltd., a the work to create the cables, patterns and combined in countless options, no two Aran cooperative movement working to preserve textures would be easily lost in a yarn that sweaters should ever look the same. When Irish handicrafts. In 1936, Heinz Egar Kiewe, is too textured or fuzzy or even thick and beginning to design a sweater it will be well a journalist, “discovered” a cream-colored thin. Using a smooth yarn will offer a more worth your time to take a few minutes to Aran sweater in this shop. Further inspired pleasing result. Likewise, consider using study your options. In doing so, think about by a Robert Flaherty film, Man of Aran a solid color, or perhaps ever so slightly the following: (1934) Kiewe continued to promote and heathered yarn for better results. Hand- commercially produce Aran sweaters for the painted or multi-colored yarns will be better • What will your CENTRAL motif be? next thirty years. In promoting his business used on less patterned projects. Traditionally, an Aran design has a major he romanticized the “traditions” of Aran panel of a heavily textured or intricately knitting by referencing the Book of Kells Gauge cabled section flanked by other patterns as inspiration for the various patterns and Gauge is important on any knitted project, and cables. the Celtic heritage and naming the various but it is “essential” on an Aran. Since you will • Make sure that your selected motifs are in patterns. Unfortunately, this promotion be knitting with a number of different cables PROPORTION one to the other. became accepted as historical truth. and textures and patterns, each section will • Use a VARIETY and COMPLEXITY of have its own gauge. Cables, by their very motifs. Yet another theory promoted by the nature, are tighter in gauge than a flat non- • Consider vertical and horizontal Churchill Scholar Rohana Darlington claims textured fabric. This drawing-in of the fabric BALANCE of each motif. that Aran knitting evolved from two young by the twisting of cables is known as “cable • Employ TEXTURES – not too many, not women who immigrated to Boston in 1906 flair”. For your garment to fit, it is essential too few. where they learned Bavarian or Austrian that you check the gauge of each cable • Don’t forget BOBBLES! Bobbles are like Travelling stitching and when they returned pattern and then stitches (usually adding the spice to a good recipe. They to Aran they blended this style of knitting on the last row of ribbing) to compensate for make the finished sweater just that much with the Gansey traditions. this flair. Then, at the neck, these increased better. stitches must be decreased. For instance, • Be conscious of MIRRORING images. Regardless of the origins, Aran knitting the gauge for the Easy Aran featured in this If you use the same cable on either side remains popular today. It is a fun and article was 6 stitches to the inch for the Moss of a central panel, consider the subtle but relatively easy way to create complex-looking Stitch Section and 8 stitches per inch for the important difference mirroring these projects. Anyone that can knit and purl Honeycomb Center Panels. Thus 2 stitches cables will make; let the one on the right and handle a cable needle can knit an Aran for every inch had to be increased at the end twist opposite from the one on the left. pattern. Because of the almost limitless of the ribbing to make up the difference. • Be aware of COMMON pattern opportunities, no two Aran garments These increases (and neck decreases) should DENOMINATORS when planning your need to be alike. Creativity and individuality be carefully planned to accentuate the layout. How much easier it is to twist can and does abound through Aran and not detract from it. cables on “common” rows. For instance, for mittens, gloves, scarves, hats and tams; consider twisting some every right side even decorative pillows and accessories Gauge, of course, is a result of yarn size row, some every other right side row, and

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Copyright 2014 The Knitting Guild Association. Cast On content is for readers' personal use and may not be shared or reproduced without permission from the editors. then, say every eight rows. This approach Just remember, the more attention to every Gauge: would be much easier than twisting some detail, the better your finished piece will be. In Moss St on larger needles, 24 sts & 26 on row 2 and others on row 6. Why make The bottom line of designing and making a rows = 4"/10 cm. To save time, take time to it hard on yourself? successful Aran can be easily summarized in check gauge. one word: PLANNING. The more you plan An easy way to plan your layout, once you every aspect of your project the better the TECHNICAL TIP: The gauge for most cables is have selected your various cables and texture, finished product will be. And remember ... tighter than flat or simple textured knitting. is to use graph paper to make a scaled layout it’s just knitting – have fun! This pattern has included increases in the last of your front panel. Try different layouts – row of ribbing to accommodate this gauge the more the better. Stand back and look at With all the cables, twists, bobbles and difference known as “cable flair”. Before the your various approaches and see which “just details Aran sweaters may, at first glance, be neck ribbing these stitches will be decreased. looks right”. a bit daunting. But in reality these classic designs can be a lot of fun to make for Stitch Pattern: Details anyone that is willing to take a bit of time to Moss Stitch (even number of sts) When it comes to design, remember, do a proper set up. In no time at all you will Row 1 (RS): *K1, p1; rep from * to end. “details matter”. It is never a matter of “right have the charts and details in your fingers Row 2 (WS): *K1, p1; rep from * to end. or wrong” rather, it is “good and better”. and the magic will just happen. This pattern Row 3: *P1, k1; rep from * to end. Consider ways to make your design “better”: is particularly designed as a good “first time” Row 4: *P1, k1; rep from * to end. Aran design. All the straight-forward cabling Repeat rows 1-4 for pattern. • RIBBING: Who says that ribbing for an occurs within a common denominator Aran sweater must be a standard 2x2 or making following the charts easier. Special Initial Cable Twist (ICT): Slip the next three 1x1 ribbing, why not break the ribbing details, like the ribbing pattern, add an even purl bumps onto the small DPN. (Note: up? Add some interest. For instance, let bigger WOW factor to this dramatic sweater. Using the long-tail CO is actually a knit row, a simple cable go down into the ribbing. thus there are purl bumps on the first row.) Or, run a single twisted cable down into the ribbing. Study each of your cables and Chart B (ICTB): Knit the next 3 original let the cable “tell” you how to emphasize its design through an interesting ribbing. stitches, then knit picked up stitches. • CABLE FLAIR: As discussed above, most Easy Aran Chart D (ICTD): Knit the three picked up cables will draw-in by their very nature. by Charles D. Gandy Therefore, it is necessary to compensate stitches and then knit next 3 original stitches. for this flair so the garment will fit. As a general rule, the place to increase (or Lifted Purl Increase Right (LPIR): Working ) for this flair is on the last on WS, pick up the next purl bump before (or first) row of ribbing. Planning these working the stitch, being careful to work increases is important to selecting the from back of the stitch, if necessary. “proper” increase. Bar increases will add a Sizes: S (M, L, 1X, 2X) “purl” stitch. Lifted increases can lean to Lifted Purl Increase Left (LPIL): Working the left or right. As with gauge, on WS, purl next stitch and then pick up and Finished Measurements: experiment on a small swatch to see when purl the purl bump in row below. Chest: 36 (40, 44, 48, 52)" and where to make these increases work the best for each cable and texture. (MB): In the stitch where you want DESIGNER NOTE: Sizes are based on actual • SEAMING: Finishing is very important the bobble, KFB twice, (there are now 4 sts on any garment, but especially on an chest measurements. Pattern includes where there was 1), [turn work and purl; turn Aran. Proper finishing, or seaming, is 4 inches of ease, ie, for size S (36") the work and knit] twice. BO 3rd st over 4th, 2nd accomplished so much easier if the “set- finished sweater per the pattern will be 40" over 4th and 1st over 4th – 1 st rems. Tug up” for this seaming is planned in tightly on next 2 sts to make bobble stand up. advance. For instance, a 2x2 ribbing can Materials: never be successfully seamed if one piece Lion Brand Yarn FISHERMEN’S WOOL® DESIGNER NOTE: The bobbles are on Row ends with a purl stitch and the second #150 (8oz/227g, 465yds/425m, 100% Pure 23 of Chart A and can be easily overlooked. piece starts with a knit. Too many patterns Virgin Wool): 3 (4, 4, 5, 6) skeins #098 Make a note of them – they are important. suggest that you work a 2x2 ribbing by Size 5 (3.5mm) 16" & 32" (40.64cm & k2, p2 across on both sides. By ending that 81.28cm) circular needles Front set-up with k2, you will have 4 knit Size 7 (4.5mm) 32" circular needle or size Using smaller length 32" needle, with Long- columns aligned so that two are “hidden” needed to obtain gauge Tail technique, CO 104 (120, 128, 138, 146) when working a Mattress Stitch seam. Size 3 (3.25mm) double point needle (for sts. Likewise, adding a single Stockinette initial cable twist) Stitch column along the edge of sleeves Cable needle (cn) or around the neck will make seaming Stitch markers and picking up stitches so much easier Stitch holders or waste yarn (wy) and cleaner. Tapestry needle continued on page 48

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Copyright 2014 The Knitting Guild Association. Cast On content is for readers' personal use and may not be shared or reproduced without permission from the editors. continued from page 47 TECHNICAL TIP: The first and last stitch of lean to the right, thus helping to maintain each row will be worked in a Stockinette the pattern. The single stitch at the end and stitch and will disappear in seaming. beg of these decreases will be maintained FF TECHNICAL TIP: The and “hidden” in the stitch pick up along ribbing for this pattern Next Row (Increase Row): PFB, p1, [k2, p2] neck edge. incorporates a variety of 1 (3) times, k2, pm, p2, pm, k1, kfb, p2, k2, stitches to compliment cable details. Note p2, k1, p2, k2, p2, k1, KFB, pm, p2, pm, k2, Back that the 3 over 3 cable goes down into the p6, k2, pm, p2, pm, k3, LPIR, [p2, LPIL] Work same as for Front completing 6 (6, 7, ribbing. To avoid a “flare” at base of these (what were 2 p sts are now 4 p sts) 5 times, 7, 8) reps of Chart A. cables, 6 stitches (3 for each of the 2 cables) pm, p2, pm, k2, p6, k2, pm, p2, pm, k1, KFB, Next RS Row: Work Pat across, twisting are added on the first (or set-up) row. See p2, k2, p2, k1, p2, k2, p2, k1, kfb, pm, p2, pm, single cables, then work 3 sts after cable ITC (B or D). Although tedious to accomplish [k2, p2] 1 (3) times, k2, p1, PFB - 126 (142) before Honeycomb. Slip Honeycomb sts it makes this cable much tidier! sts rem. onto holders. Add second ball of yarn, k3 sts after Honeycomb. Work across twisting DESIGNER NOTE: For all sizes the “center” For sizes L (1X, 2X): single cables. panels (made up of Charts A, B, C, D, A) Next Row (Increase Row): PFB, p1, [k2, p2] are the same. For the larger three sizes 2 (3, 4) times, k2, pm, p2, pm, k2, p6, k2, pm, Next Row (WS): BO across both sides additional Moss stitches are added on each k1, kfb, p2, k2, p2, k1, p2, k2, p2, k1, kfb, pm, keeping Honeycomb sts on holder. side, PLUS Chart D is added on right-hand p2, pm, k2, p6, k2, pm, p2, pm, k3, LPIR, side of Chart A and Chart B is added on the [p2, LPIL] (what were 2 p sts are now 4 p sts) Sleeves (make 2): left-hand side of Chart A. 5 times, pm, p2, pm, k2, p6, k2, pm, p2, pm, CO 53 sts. k1, kfb, p2, k2, p2, k1, p2, k2, p2, k1, kfb, pm, Row 1 (RS): [K2, P2] 6 times, k2, p1, [k2, p2] For sizes S and (M): p2, pm, k2, p6, k2, pm, p2, pm, [k2, p2] 2 (3, 6 times, end k2. Set Up Row (RS): K2, [p2, k2] 4 (6) times, 4) times, k2, p1, pfb – 156 (166, 174) sts rem. Row 2 (WS): [P2, K2] 6 times, p2, k1, [p2, p1, [k2, p2] 3 times, ICTB, p2, [k2, p3] 6 k2] 6 times, end p2. times, k2, p2, ICTD, [p2, k2] 3 times, p1, [k2, For sizes S (M): p2] 4 (6) times, end k2 – 110 (126) sts rem. Row 1 (RS): K1, [k1,p1] 4 (8) times, slip TECHNICAL TIP: The first and last knit marker, k2, sm, work Chart A over next 19 column of ribbing will be “hidden” in the For sizes L (1X , 2X): sts, sm, k2, sm, then work Chart B over next seam. Set Up Row (RS): K2, [p2, k2] 3 (4, 5) times, 10 sts, sm, k2, sm, then work Chart C over p2, ICTD, [p2, k2] 3 times, p1, [k2, p2] 3 next 40 sts, sm, k2, sm, work Chart D over Rep Rows 1 & 2 until piece meas 3.5" end on times, ICTB, p2, [k2, p3] 6 times, k2, p2, next 10 sts, sm, k2, sm, work Chart A over RS row. ICTD, [p2, k2] 3 times, p1, [k2, p2] 3 times, next 19 sts, sm, k2, sm, [k1,p1] 4 (8) times, Next Row (WS): PFB, p1, [k2, p2] 4 times, ICTB, [p2, k2] 4 (5, 6) times – 140 (150, 158) k1. pm, KFB, k1, p2, k2, p2, k1, p2, k2, p2, k1, sts rem. KFB, pm, [p2, k2] 4 times, p1, PFB. For sizes L (1X, 2X): Work 23 rows of est Rib, using Cable Charts Row 1 (RS): K1, [k1,p1] 6 (8,10) times, sm, TECHNICAL TIP: The added stitches at B & D for two smaller sizes and Charts D, B, k2, sm, work Chart D over next 10 sts, sm, beginning and end of the row will be D, B for three larger sizes. End on RS row. k2, sm, work Chart A over next 19 sts, sm, maintained as a Stockinette column up the k2, sm, then work Chart B over next 10 sts, entire length of sleeve and will be “hidden” TECHNICAL TIP: Cables, by their very nature, sm, k2, sm, then work Chart C over next 40 in the seam. “draw in” or result in a tighter gauge than sts, sm, k2, sm, work Chart D over next 10 plain knitting, thus you must increase sts, sm, k2, sm, work Chart A over next 19 Next Row (RS): Maintain a St st column (k on stitches to make up for this difference. The sts, sm, k2, sm, work Chart B over next 10 RS, p on WS) at first and last st, work Moss St last row of ribbing is an excellent place to sts, sm, k2, sm, [k1, p1] 6 (8,10) times, k1. until 4 sts before marker, pm, k2, pm, p2, sm, compensate for this cable “flair”. Various work Chart A, sm, p2, pm, k2, pm, then work increases are used to help better maintain Cont as est for 5.5 (5.5, 6.5, 6.5, 7.5) reps of Moss St to last st for the St st. the pattern. One of these “standard” Chart A end on WS row. Work across 10 sts increases is a pfb (purl front then back). in middle panel, place next 20 sts on wy or DESIGNER NOTE: The markers on either side This increase mimics a kfb and is in effect a st holder, add another ball of yarn and work of Chart A indicate a Reverse stitch column “bar” increase. I have found that I prefer to across. Work both sides with different balls of of two stitches on either side of the 2 knit work this increase as pbf – purl in the back yarn, cont to work in est Pat. You will now beg stitches. This will allow the cable pattern to first then in the front. It just seems easier to to dec one st ea side of neck every RS row by stand out even more. work. Experiment to determine which you working until 3 sts rem, ssk, k1. Then on the prefer. The other increase used is a lifted left side, k1, k2tog, work across. Complete Inc one st on ea end (maintain St st on increase (right or left leaning) done on the rep of Chart A (dec ea neck edge every RS first and last st) of every other RS row; WS or when purling. I have indicated these row). BO all sts except those on holder. work 4.5 (5, 5, 5, 6) reps of Chart A. increases as LPIR and LPIL. Next Row (RS): BO all sts until 1 st before TECHNICAL TIP: The ssk on right side of the marker, knit that st, maintain it as a St st For sizes S (M): neck lean to left and the ktog on left side column to be “hidden” in saddle shoulder

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Copyright 2014 The Knitting Guild Association. Cast On content is for readers' personal use and may not be shared or reproduced without permission from the editors. seam. P2, sm, k2, then work Chart A, p2, sm, Amherst, Mass. White River Press, 2010. Starmore, Alice, Aran Knitting: New and k2, p2, k1 (another “seam” st). BO all rem sts. (First published by Interweave Press, LLC, Expanded, New York, Dover Publications, Cont to work Chart A with its flanking 1993.) Inc. 2010 (First published by Interweave knit and purl columns plus the single knit Gibson-Roberts, Priscilla and Deborah Press, LLC, Colorado, 1997.) column at beg and end for 1.5 (2, 2, 2.5, 2.5) Robson, Knitting in the Old Way: Design reps of Chart A. Note: This “saddle” should & Techniques from Ethnic Sweaters. Fort The charts and schematics for this pattern meas the same distance as shoulder of the Collins, Colorado, Nomad Press, 2004. (First can be found in the Cast On extras section at Front and Back so make adjustments as published by Interweave Press, Loveland www.TKGA.com. necessary which may mean not completing a Colorado, 1985.) full pat rep. Do not BO sts. Mountford, Debra, The Harmony Guide to Aran and Knitting: Patterns, Finishing Techniques, and Stitches, London, England, Seam the saddle shoulders to each side of Collins & Brown Limited, 2000. (First the front and back. Seam sleeves to front published by Lyric Books in 1991.) and back. Seam underarm of sleeve and then Rutt, Richard, A History of , body. Loveland, Colorado, Interweave Press, 1987. (First published by B. T. Batford, London DESIGNER NOTE: The concept of the neck England, 1987.) ribbing is to duplicate the pattern as in bottom ribbing where the Honeycomb “grows” into the ribbing, thus two decreases will be needed, one on each side of the four stitches of the Honeycomb pattern. A PERSONAL NOTE ON AFTERTHOUGHTS: Some judgment will be needed to determine where to place these decreases and they Many times – most times – as a designer, once I have completed a garment and should be worked: ssk (left-leaning) k2tog look at the finished product, I have what I call “afterthoughts”. Things that I (right leaning) thus lines of the honeycomb wished I had done differently. Usually these changes are very subtle and in the are not interrupted. These resulting 2 knit overall picture don’t really “make” or “break” a garment. Normally I make notes stitches will be followed by 3 purls thus of these points, keeping them to myself and incorporating in the next design. matching the bottom ribbing. Likewise, over But since Cast On is a “teaching” journal, I thought it might be opportunity for a the saddle shoulder the ribbing should be chance to “teach”. a k2, p2 pattern with a single stitch in the middle. Adjustments may need to be made For the EASY ARAN there are a few very minor changes: depending on the finished stitch count • I think it would have been better had I added a column of two Reverse of your saddle shoulder. Again judgment! Stockinette stitches on the outside (both left and right) of Chart A or the Judgment is a term that I think should be added to the standard : “Diamond” cable. Doing so would better separate the Moss stitch on the side. “do what you have to do to make it work”. Indeed, I added this column on the sleeves and, although very subtle, I think it is a better solution. Neck Using smaller circular needle, beg at front • Likewise, additional Reverse Stockinette columns of two stitches each added right neck, pick up and knit 4 sts, place on either side of the center Honeycomb section would have better emphasized held Honeycomb sts on another needle that texture. These Reverse Stockinette columns almost disappear as they and ssk, k2tog over 4 sts that complete recess deep into the background. However that subtle detail can make a huge the Honeycomb, then p1, p2tog, p1. Cont difference. around until left edge. Pick up and k4 sts. Then work from Saddle Shoulder, k2, p2 • It is unfortunate that I didn’t begin Chart A on the next to last row at bottom across with a p1 in center of Pat (unless you need to make adjustments based on of sweater thus adding bobbles just above the ribbing. This would have better where you ended the saddle strap to match balanced the overall design of the sweater mirroring placement of bobbles the shoulder seam). Pick up and k4 sts on along the top. In doing this, I would have simply begun each chart on the next back, then work Honeycomb with decs as to last row to maintain the “common denominator” that makes this an “easy” on Front, pick up and k4 sts on other side. design. Check to make sure that ribbing Pat falls within the concept of bottom ribbing. Work If, when you make this garment, you want to add these few stitches, it will not until neck ribbing meas 1.5". BO all sts. really affect the overall size and I think will make for a better finished look. Work in all ends. Block Although I didn’t think to do these details, I have learned from the experience and I hope you will as well. References: Brown-Reinsel, Beth, Knitting Ganseys,

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