4JE-02PO: Let's Learn to Knit with Increase and Decrease
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220 Superwash® Kangaroo Sweater
W185 220 Superwash® Kangaroo Sweater Designed by Amy Bahrt © 2013 Cascade Yarns® - All Rights Reserved. 220 Superwash® Kangaroo Sweater Designed by Amy Bahrt Skill Level: Intermediate Size: 2 (4, 6) Materials: Cascade Yarns® 220 Superwash® 100% Superwash Wool 100 g (3.5 oz) / 220 yds (200 m) A - 2 skeins of color #813 (Blue Velvet) B - 2 skeins of color #821 (Daffodil) C - 1 skein of color #864 (Christmas Green) D - 1 skein of color #822 (Pumpkin) US 5 & 7 knitting needles Crochet Hook G/6 Stitch Holders Yarn Needle 1 – 3/8” 4-hole Button Finished Measurements: Chest: 26 (28, 31)" Body Length 14 (15½, 17)" Sleeve Length 11½ (12, 12½)" Armhole Depth 5¾ (6¼, 6¾)" Gauge: 20 sts x 26 rows = 4" Abbreviations: BO = Bind Off CO = Cast On K = Knit P = Purl RS = Right Side St(s) = Stitch(es) WS = Wrong Side Stripe pattern: *(2 rows B, 2 rows D); repeat from* (4 rows) Back: With smaller needles and A CO 64 (70, 78)sts. Work in (K1, P1) Rib Pattern for 8 rows. Change to larger needles continue in Stockinette stitch until piece measures 14 (15½, 17)" from beginning. On WS, BO 19 (21, 25) sts for shoulder, work across 26 (28, 28) sts and place on holder, BO remaining sts for shoulder. © 2013 Cascade Yarns® - All Rights Reserved. Front: Work as back until piece measures 2¾ (4¼, 5¾)" from beginning. On RS and A, work 21(24, 28) sts, join B and work 22 sts of Kangaroo chart pattern row #1, end 21 (24, 28) sts A. -
Macstitch/Winstitch Manual by Ursa Software
MacStitch/WinStitch Manual by Ursa Software Revision: January 2017 - !1 Introduction This document explains all the main functions of the application, plus the bundled Thread Editor utility, and Symbol Editor. We hope you enjoy many hours using the program! If you can't find the answer to a query you have within this document, please send us an email using the contact form on our website, or in the help menu of your program. Jeff & Deb Tullin Ursa Software MacStitch Mac, and WinStitch for the PC are designed for making the creation of counted cross stitch charts easy, quick and fun. You draw on screen using the mouse, using your selected colors (taken from the DMC, Anchor, Madeira or several other thread ranges), and build up your design just as you would on graph paper. For the artistically challenged, you can import scanned photos or clipart, and have the program turn them into ready-to-stitch designs in minutes, at just the right size. The printouts are clear and easy to read, especially when you choose to print at the larger symbol sizes. No need run down to the print shop to get the chart enlarged when you can print it yourself! The task of creating a chart involves either designing something based upon an idea you have, and using the computer screen like a sheet of graph paper, or by importing an image from elsewhere (perhaps a photo or piece of clip art) Once the design is on the screen, you can amend it further: perhaps by adding text, removing background stitches, or adding half stitches to smooth curved edges. -
Faculty Development Grant Report Sumi Lee Professor of Fashion
Faculty Development Grant Report Sumi Lee Professor of Fashion Design Faculty Development Grant Report Submitted Sep.11th, 2017 Sumi Lee Professor of Fashion Design Project Description: In Fall 2016, I received a Faculty Development Grant to fund a textile art workshop titled “Places, Spaces and Traces” in Les Carroz, France. This workshop focused on creating artistic textile surfaces, while experimenting with found materials, different media, novel techniques, mark-making (i.e., use of stitch as a “line”), and paint methods on fabric (e.g., sun prints with silk dyes). These different approaches to creating textiles are often described as “painting with cloth.” This workshop was instructed by a renowned textile artist from the U.K., Cas Holmes, author of several books and articles including “The Found Object in Textile Art” and “Stitch Stories”. She utilizes a unique “hands-on” approach that showcases her experimental use of found materials and inventive application of textile and mixed media procedures. Significant Activities: According to Cas Holmes, the most important aspect of “creating art” is the process of developing one’s own approach to subject matter in a meaningful way. Specifically, Holmes showed how she makes connections to natural environments in developing her narratives and her personal vision as a textile artist. #1. Stitch- Sketching: Drawing and recording daily observation, and the realization of those ideas in textile is a process. Sketchbook by Cas Holms Sketchbook by Sumi Lee The colors, textures, and changing light over the meadows, fields and landscape can provide a stimulus for the narrative, formal, or abstract quality in textile works. -
KNIT-A-BIT, LLC 16925 S. Beckman Rd. Oregon City, OR 97045-9366 (503) 631-4596
KNIT-A-BIT, LLC 16925 S. Beckman Rd. Oregon City, OR 97045-9366 (503) 631-4596 Adaptation of Gene Bailey's "WONDER DRESS" by Pat Groves Machine: standard gauge with ribber Yarn: 2 pounds of Krinklespun, 2 strands for skirt and collar (tuck pattern) 3 strands for ribbing and stocking stitch Stitch size (tension) on the Passap: 5 for stocking stitch 2 1/2 for the ribbing 3 1/4 for the tuck. Dress is knit straight from hem to neck (except for neck shaping and if desired armhole shaping) using three different stitch patterns. Skirt is a double bed tuck pattern which changes to 1:1 rib 3" below the waist, has a casing for elastic at the waist, changes to stocking stitch for the bodice. Neckline is your choice, the model was a slight scoop. The sleeves are stocking stitch with 1:1 rib at the wrist. The collar is the same pattern as the skirt or you could knit the sleeves in the same tuck pattern as the skirt. You can change the sleeve to the lace pattern and also change the collar to stockinette – it’s your choice, just make the necessary adjustments to the pattern. Knit three swatches and calculate the following gauges: (Passap knitters: You may want to do the stocking stitch swatch on the back bed - see the note under Bodice). Stocking stitch --- stitches/inch - A = . rows/inch - B = . 1:1 rib rows/inch - C = . Tuck stitch rows/inch - D = . The tuck pattern is a double bed pattern with needles tucking on the main bed and knitting on the other bed. -
Xstitch Pro for Windows Manual
Platinum For Mac OSX Plus edition Copyright D. Peters 2015 Rev. 1.00 ii Platinum For Mac OSX 1 - Introduction.................................................................................1 2 - Running XSPro...........................................................................3 3 - Commands...................................................................................5 4 - Text to Stitches..........................................................................75 5 - Creating Fonts .........................................................................79 6 - Objects......................................................................................83 7 - Motifs........................................................................................87 8 - Printing......................................................................................95 9 - Digitising for Machine............................................................117 10 - Colours....................................................................................121 11 - DP Frame ...............................................................................127 12 - Hardanger Design....................................................................131 13 - Colour Range Editor...............................................................133 14 - Settings....................................................................................139 15 - Technical Support...................................................................141 S1 - Template Format.....................................................................143 -
Step 1: Turn on Sewing Machine - Switch on the Right Hand Side
8 th - Introduction of the Tempo Baby - lock Sewing Machine Page | 1 Part 1: Sewing Machine (Student Worksheet – Formative Assessment) Name _____________________________________________ Period ________ Score _____________________________________________ Directions: Complete after all parts have been completed, place in designated tray. Step 1: Turn on sewing machine - Switch on the right hand side. Step 2: Identify & Practice Using Assigned Parts Sewing Machine Parts: Part 1 1. Needle Button and Needle - DO NOT USE HANDWHEEL! On / Off Switch 2. Reverse Button – Reverse 3. Presser Foot – Holds down fabric 4. Stop/Start button must be green to sew. This is only done when the presser foot is down. 5. Speed Switch – Regulates your sewing speed. (NOTE: remember we are in a school zone – So sew slowly!!) Speed Switch 6. Stitch Regulator – Regulates stitch sizes (Large, Medium, Small). To make changes click the light at the bottom of the stitch regulator. Then slide the switch to the stitch size required. Most stitching is done with the medium stitch size. Stitch Regulator 8 th - Introduction of the Tempo Baby - lock Sewing Machine Page | 2 7. ZigZag Stitching - Press the zigzag button light when using this 4 type of stitch. The up/down button will change the numbers on the screen and will determine what stitch you are making. Check the plastic chart to see what numbers correlate to each design. Since we have the “J” foot on, these are the stitches we will be using. 8. A few more parts: Zig Zag Dials a. Feed Dogs – Grabs fabric smoothly through b. Threading Guides – Helps you thread the machine – all are sequentially labeled. -
A Hole New Story Jumper & Socks Edition
Workshop no.1 A hole new story jumper & socks edition Don’t let your textiles go to waste workshop series Contents 1. Who are we? 3 2. Mending, a story of tradition and care 7 3. Fabrics 101 11 4. Material kit explained 16 5. Visible mending techniques 18 6. Basic sewing skills 23 7. Step-by-step mending techniques 25 2 1. Who are we? 3 TextileLab Amsterdam TextileLab Amsterdam is a group of people that researches, questions and Pictured above (from left to right): speculates how we can help transition the textile and clothing industry towards a more sustainable and value driven approach. From a holistic Cecilia Raspanti approach we look at materials, tools/instruments, processes, culture and Co-founder TextileLab Amsterdam, systems and how these are related. Co-founder Fabricademy: textile academy The research always has a collaborative and value driven nature, where Ista Boszhard findings are shared in a fully open source fashion to create knowledge Co-founder TextileLab Amsterdam, exchange and foster collaboration with a range of diverse stakeholders. Lecturer Amfi Circular economy, sustainable value flows and networks, as well as material Margherita Soldati research and innovation are at the core of the TextileLab operations, going Concept and design TextileLab Amsterdam, hand in hand with exploring informal hands-on alternatives for design, Independent Designer fabrication and production. This wide range of operations and outcomes all feed into education innovation, supporting the change of this field starting Beatriz Sandini from existing educational structures. Concept and design TextileLab Amsterdam, Independent Designer 4 REFLOW Textiles have been a critical and polluting industry since the Industrial Revolution – each year, 14,000 tons of textiles are thrown away in Amsterdam only. -
Ribbing Increases by Vanessa Montileone
swatch a swatch b swatch c ON YOUR WAY TO THE MASTERS Ribbing Increases by vanessa montileone swatch d swatch e swatch f 66 Cast On • February – April 2007 Increasing is an integral part of knitting location to hide an increase. Masters whether used for shaping or decoration. Program level 1 requires swatches of single There is a plethora of written information and double rib with increases on the last concerning the various increase techniques row. The increases are to be unobtrusive and “Never accept but little is written concerning the use of evenly spaced. There are many formulas increases in ribbing. Level 1 of the TKGA for figuring how to space increases and a the WORD Master Hand Knitting Program asks general rule of thumb is not to increase in that increases be placed in the last row of an edge stitch. Increases placed at the edge of any expert ribbing and that they be unobtrusive. In form a jagged line that is visible and makes other words the increases should blend seaming difficult. What increase would without first into the ribbing pattern. Knitters must first work best? The make 1, although one of the checking it out have knowledge of the various increases least visible in stockinette, does not work and their characteristics before they can well in ribbing. It creates an open area for yourself.” chose which increase is best suited for the under the strand in which the increase is pattern stitch being knitted. made. That open area can be visible in the ribbing. The lifted increase is the second – Maggie Righetti A brief review of four commonly used best increase in ribbing. -
Pilling Performance and Abrasion Characteristics of Selected Basic Weft Knitted Fabrics
Muhammet Akaydin, Yahya Can Pilling Performance and Abrasion Characteristics of Selected Basic Weft Knitted Fabrics Pamukkale University, Abstract Denizli Vocational Scholl, The aim of this study was the determination of the effects of dyeing, knit construction and Denizli, Turkey the thread yarn production type on the abrasion resistance and pilling performance of E-mail: [email protected] selected basic weft knitted fabrics. For this aim jersey and interlock fabrics were produced from 100% cotton ring and compact yarns. Some of the fabrics produced were dyed. The abrasion resistance and pilling performance of raw and dyed fabrics were measured. The results obtained were classified according to the knit construction, whether the fabric was raw or dyed, and the properties of the yarn from which the fabric was produced. According to the results obtained, the abrasion resistance and pilling performance of interlock fabrics were found to be higher than those of jersey fabrics, those of dyed fabrics higher than those of raw fabrics, and those of fabrics produced from compact yarns were higher than those fabrics produced from ring yarns. Key words: abrasion resistance, compact yarn, pilling, weft knitted fabric. Abrasion resistance and pilling perform- ported that 100 % cotton samples knitted ance are two of the most important me- from ring spun yarns tend to have lower chanical characteristics of fabrics. The pilling rates than those constructed from resistance of a fabric against the force of 100 % cotton open-end spun yarns [9]. friction is known as the abrasion resist- ance. In general, pilling is a fabric defect Akaydin studied basic knitted fabrics observed as small fiber balls or a group from ring combed and compact yarns and consisting of intervened fibers that are determined that the abrasion resistance attached to the fabric surface by one or and pilling performance of supreme fab- more fibers [1]. -
Lesson 3 Shaping the Torso.Indd
Nina’s Sweater Class Lesson 3: Shaping the Torso Shaping refers to the decreases and increases knit into the body of a sweater that cause it to deviate from the plain straight lines of an unshaped sweater. In this section of our class, you will refer to your sample sweater and your sketch to determine the kind of shaping you will knit. If there is no change in the width of the body in your sample or fantasy sweater (that is, the body is just a straight tube) then you do not need to worry about shaping, just knit on until you have enough rows (including the hem already knit) to make the measurement “E” on your schematic. The instructions in this lesson address simple waist and bust shaping. If your sample or fantasy sweater is curved in the body like the shape of a real human torso, then you will want waist/bust shaping. Other shapes can be acheived by adapting these instructions--the last page of this lesson contains a discussion of these techniques. In order to calculate the waist shaping that will work for YOUR sweater, you will need these key measurements from your schematic (provided in lesson 1.) A – The width of the cast-on edge, laid flat (as used in the last lesson) B – The width of the torso at the NARROWEST point (the waist) C – The width of the sweater from armpit to armpit. (the chest) D – the length from the cast on edge to the narrowest part of the torso (the waist) E – The length of the torso, from cast on edge to armpit. -
Free Pattern: Beginner Socks for Magic Loop, TOE-UP Or TOP-DOWN by Liat Gat of Knitfreedom
Free Pattern: Beginner Socks for Magic Loop, TOE-UP or TOP-DOWN by Liat Gat of KNITFreedom Materials Yarn: 150-400 yds fingering-weight yarn (amount of yarn needed depends on length of cuff). If working two socks at one time, separate yarn into two balls of equal yardage. Gauge: 7 sts/in in St st. Needles: 1 or 2 40-inch circular needle(s) OR set of DPNs, in whatever size required for YOU to obtain gauge. I used US #2. What kind of needles you require depends on how you prefer to knit in the round. I prefer magic loop, which requires one circular needle. Notions: Stitch markers, tapestry needle, scissors. Sizes: S, M, L Finished Measurements: Foot circumference: 7[8,9] inches, unstretched Length: customizable to exact foot size Abbreviations/Terms: (all links go to KNITFreedom videos) CO: cast on PM: place marker BOR: beginning of round M1L: make one left M1R: make one right K2tog: knit 2 together P2tog: purl 2 together SSK: slip, slip, knit instep: the part of the sock opposite the heel (front of ankle). Beginner Socks for Magic Loop, TOE-UP VERSION Want to watch a complete KNITFreedom Video Course showing every step of this project, including how to knit these socks two-at-a-time? Click Here To Learn More! Pattern Notes: Sock is worked in the round from toe to cuff. The heel shaping is taken directly from Fleegle's blog and is famously known as the Fleegle Heel. Pattern Instructions: Toe Using Judy's Magic Cast-On, CO 12(16,20) sts, 6(8,10) on each needle. -
Janome 3160QDC Manual
INSTRUCTION BOOK IMPORTANT SAFETY INSTRUCTIONS This appliance is not intended for use by persons (including children) with reduced physical, sensory or mental capabilities, or lack of experience and knowledge, unless they have been given supervision or instruction concerning use of the appliance by a person responsible for their safety. Children should be supervised to ensure that they do not play with the appliance. When using an electrical appliance, basic safety precautions should always be followed, including the following: This sewing machine is designed and manufactured for household use only. Read all instructions before using this sewing machine. DANGER— To reduce the risk of electric shock: An appliance should never be left unattended when plugged in. Always unplug this sewing machine from the electric outlet immediately after using and before cleaning. WARNING— To reduce the risk of burns, fire, electric shock, or injury to persons: 1. Do not allow to be used as a toy. Close attention is necessary when this sewing machine is used by or near children. 2. Use this appliance only for its intended use as described in this owner’s manual. Use only attachments recommended by the manufacturer as contained in this owner’s manual. 3. Never operate this sewing machine if it has a damaged cord or plug, if it is not working properly, if it has been dropped or damaged, or dropped into water. Return this sewing machine to the nearest authorized dealer or service center for examination, repair, electrical or mechanical adjustment. 4. Never operate the appliance with any air opening blocked. Keep ventilation openings of this sewing machine and foot controller free from accumulation of lint, dust and loose cloth.