DOCSLIB.ORG

Free Trilobite Knitting Pattern

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Free Trilobite Knitting Pattern R2 Trilobite in Trilobite means “three lobed” because if you look at a trilobite fossil (or indeed a knitted trilobite fossil) its body is divided into three lengthways sections. Our trilobites have been knitted still partially encased in rock. You will need: 4 ply or sock wool in greys • toy stuffing 4 x double ended knitting needles (3mm) • tapestry needle • scissors Pattern (Trilobite): First we are going to make an embossed trilobite design on a flat rectangle of knitting. The design is shown on the grid and instructions are written out in full below. Cast on 21 stitches. Row 11: p2, [k1, p1] x 6, k2, p2, k2, p1 Row 1: p – Row 12: k1, p2, k2, p2, [k1, p1] x 6, k2 Row 2: k4, p3, k1, p1, k12 Row 13: as row 11 Row 3: p10, [k1, p1] x 2, k4, p3 Row 14: k1, p2, k2, p15, k1 Row 4: k2, p5, [k1, p1] x 3, k8 Row 15: p14, k2, p2, k2, p1 Row 5: p6, [k1, p1] x 4, k5, p2 Row 6: k1, p6, [k1, p1] x 4, k6 Rows 16 to 23: as rows 8 to 1 – please note Row 7: p4, [k1, p1] x 5, k6, p1 that the order of rows is reversed to create a Row 8: k1, p3, k1, p2, [k1, p1] x 6, k2 symmetrical pattern. Row 9: p1, k15, p2, k2, p1 Row 10: k1, p2, k2, p2, k14 Cast off. www.oddknit.com/patterns/fossils/trilobite.html Pattern (Rock): Pick up and knit 60 stitches around the edge of the trilobite (not around the edge of the rectangle, around the edge of the trilobite pattern on the rectangle – follow the dotted line in the diagram to the left). Continue in the round. Round 1: p – (60) Increase four stitches in each of the next three rounds. Increases are worked using pfb and all other stitches are purled. Space the increases randomly – you are knitting a rock so it should be a little uneven. Rounds 5 to 9: p – (72) Decrease four stitches in each of the following rounds until only 20 sts remain. Decreases are worked using p2tog and all other stitches are purled. Again space the decrease randomly. Making Up: Lightly stuff the knitted rock. Divide the remaining stitches evenly between two needles and cut the yarn leaving a tail for sewing up. Thread the loose end of yarn onto a tapestry needle and hold the two knitting needles together so that the tail of yarn is at the top right. We are now going to graft the two sides of the opening together using reverse Kitchener Stitch. Insert the tapestry needle k-wise into the first stitch on the front needle then p-wise into the first stitch on the back needle. The next four steps form the Kitchener stitch. Repeat until all stitches have been grafted together. Insert the tapestry needle: 1. p-wise into the first stitch on the front needle, slip this stitch off the needle. 2. k-wise into next stitch on front needle, leave this stitch on the needle. 3. k-wise into the first stitch on the back needle, slip this stitch off the needle. 4. p-wise into the next stitch on the back needle, leave this stitch on the needle. Sew in the remaining loose end. www.oddknit.com/patterns/fossils/trilobite.html Notes: Abbreviations [ ] x number Repeat the section in square brackets the required number of times. (number) Gives the total number of stitches you should have on needle by the end of the row. k number Knit this number of stitches. p – Purl every stitch to the end of the row. p number Purl this number of stitches. pfb Purl into the front and then the back of a single stitch (+1 stitch). p2tog Purl the next two stitches together (-1 stitch). Needle/Yarn Size As with most ODDknit patterns the yarn and needle sizes in the "you will need" section are just a guide. Feel free to improvise with whatever needles and yarn you have lying around - that's half the fun! www.oddknit.com/patterns/fossils/trilobite.html.
Load more

Recommended publications
  • Senior Textile Artist Badge Workshop
    Senior Textile Artist Badge Workshop An At-Home Program GSCCC Senior Textile Artist Badge Workshop (At-Home) • When you see fabrics, yarn, or string off all colors and textures what do you think of? Do you envision all of the things you could create? Let’s turn those visions into reality! Program Outline Materials: - Computer - Internet access - Materials for craft of choice Step 1: Choose your textile art There are a number of textile arts in the world from macramé to crocheting to quilting and much more. In this step you will be doing some research to learn about a textile art that you find interesting and that you would like to learn. Some of the most common textile arts are macramé, embroidery, cross-stitch, needlework, knitting, crocheting, weaving, and quilting. Do some research to find out about these or other textile arts. Below are some helpful links to start with. Here are a few links to get your search started – crochet, macramé, embroidery, weaving. Click here to see what some current textile artists are doing. Step 2: Find your tools and materials Now that you have chosen your art, you need to gather materials. Crocheting needs crochet hooks and yarn. Embroidery needs needles, embroidery floss, hoops, and fabric. Do some research about what you will need for your chosen textile art form. What all is involved? Do you know anyone who already has the supplies? Would they be willing to lend you some materials? Below are some great resources to learn about materials needed for the most common textile arts.
    [Show full text]
  • STITCH AWAY SCARF Pattern 1: “Quaker Ridging” (40 Sts) Row 1: Knit
    STITCH AWAY SCARF Pattern 1: “Quaker Ridging” (40 sts) Row 1: Knit. Chicago Yarn Crawl Pattern 2019 Row 2: Purl. Row 3: Knit. This scarf was inspired by Barbara Walker’s Row 4: Purl. A Treasury of Knitting Patterns. There are seven Row 5: Knit. different stitch patterns used in this scarf, starting Row 6: Knit. out with easy and becoming more difficult. At Row 7: Knit. times you may need to increase or decrease the Row 8: Purl. number of stitches on your needles in order to Row 9: Knit. Row 10: Purl. accommodate the various stitch patterns. So, cast Row 11: Knit. on and “stitch away”! Row 12: Knit. Row 13: Purl. YARN: Kelbourne Woolens Germantown, 2 Row 14: Knit. skeins Repeat rows 1-14 until pattern 1 measures 8”. Needles: U.S. 8 Knit 5 rows. Knit 1 more row, increasing 1 after the initial K4. Cast on 40 stitches and knit every row for 6 rows. The first 4 stitches and last 4 stitches are knit Pattern 2: “Broken Rib” (41 sts) every row (garter stitch). You should place a Row 1: Knit th marker after the 4 stitch and before the last 4 Row 2: Purl stitches to “remind” you to work these stitches in Row 3: (K1, P1) repeat, end with K1. garter. The following stitch patterns are worked in Row 4: (P1, K1) repeat, end with P1. between these markers. Repeat these 4 rows until you have worked 8” in Pattern 2. Source: Walker, Barbara G., A Treasury of Knitting Patterns, published by Charles Scriber’s Knit for 6 rows.
    [Show full text]
  • Free Knitting Pattern Lion Brand® Woolease® Tonal Grape Jam
    Free Knitting Pattern Lion Brand® Wool­Ease® Tonal Grape Jam Wristers Pattern Number: L50323 Free Knitting Pattern from Lion Brand Yarn Lion Brand® Wool­Ease® Tonal Grape Jam Wristers Pattern Number: L50323 SKILL LEVEL: Beginner (Level 1) SIZE: One Size Finished Circumference About 7 in. (18 cm) Finished Length About 8 in. (20.5 cm) CORRECTIONS: (applied Mar 10, 2016) MATERIALS 635­145 Wool­Ease Tonal: Plum 635­144 Wool­Ease Tonal: Amethyst MATERIALS *Wool­Ease Tonal (Article #635). 80% Acrylic, 20% Wool; package size: 4.00oz/113.00 gr. (124yds/113m) pull skeins • 635­144 Lion Brand Wool­ Ease Tonal: Amethyst 1 Ball • Lion Brand Knitting Needles Size 11 [8 mm] • Lion Brand Large­Eye Blunt Needles (Set of 6) GAUGE: 13 sts = about 4 in. (10 cm) over Rows 7 and 8 of pattern. When you match the gauge in a pattern, your project will be the size specified in the pattern and the materials specified in the pattern will be sufficient. The needle or hook size called for in the pattern is based on what the designer used, but it is not unusual for gauge to vary from person to person. If it takes you fewer stitches and rows to make your swatch, try using a smaller size hook or needles; if more stitches and rows, try a larger size hook or needles. Making a Gauge Swatch NOTES: 1. Wristers are worked in one piece with ribbing at both edges. 2. Wristers are seamed, leaving openings for thumbs. WRISTERS (make 2) Cast on 23 sts. Row 1 (RS): P1, *k1, p1; repeat from * across.
    [Show full text]
  • Extract from Earth Guild's Tapestry Crochet Patterns
    EXTRACT FROM EARTH GUILDS TIPS & NOTES TAPESTRY CROCHET PATTERNS: Crochet in a chair with arms that comfortably support your elbows, or at least that of your primary General Information arm. This will ease your shoulder, though it wont Color Changing do anything much for your wrist. a piece of Graph Paper When adding a new color, or a new strand of the same color, set it in as a second core yarn about six stitches before it becomes the working strand. Do TWISTING, AND WHAT TO DO ABOUT IT the same thing when you end a strand; carry it for Not as trivial as it might seem. about six stitches as an additional core before you When the colors are switched, the two strands cut it off. Leave a tail about half an inch long. Use wind around each other. This will happen it does your hook to pull tails to the front, a couple of rows not mean that you are doing something incorrectly. back into the web, so they wont get snagged as you When the twist becomes annoyingly snarly, and in work. Hanging there these ends can make it harder the way of the work, it needs to be undone. to see mistakes, or even how the design is building There are many ways to do this. While the up, so trim them or return them to the back when work is small and light, hold the two balls of yarn in youre a few rows further along. I prefer not to cut either hand, a foot or so apart.
    [Show full text]
  • Behind the Scenes Behind the Scenes
    A Noro aficionado for more than twenty-five years, designer Cornelia Tuttle Hamilton took the trip of a BehindBehind lifetime, traveling to Japan from her home in Sweden thethe ScenesScenes to meet the man by Cornelia Tuttle Hamilton behind the yarn. y relationship with all that is Noro began in the early 1980s. It is obvious that every new day still brings new discoveries of color and I had just returned from a train trip around Europe that I form based largely on an acute observation of nature and its rhythms, M undertook to find direction in my professional life. The outcome seasons, textures and colors. Mr. Noro’s calm dignity and humor were was an ambitious decision to pursue careers in both photography and evident even though we needed an interpreter to communicate. hand-knit design. As fate would have it, the design part of my decision quickly developed and pushed out the photography—at least for the time The Company being. Eisaku Noro was raised in the town of Ichinomiya in Central Japan, a Upon my return to Manhattan I took a sales job at Fiberworks, which region known for its yarn and textile production. Impatient with school, was probably the most avant-garde yarn shop in New York at the time. Noro began working in the yarn industry after his basic education in Owned by crochet designer Judith Copeland, Fiberworks was more a spinning and dyeing was completed. He quickly learned the ropes. gallery than a yarn shop, where handcrafted yarns from Noro lit up the An innovator with an artistic eye even back then, Noro soon became shelves and were featured in artfully displayed handknit garments.
    [Show full text]
  • 20/04/2015 Slit Tapestry Red/Green
    Lucy Dean Exercise: ‘Exploring modern art’ 20/04/2015 Slit Tapestry Red/Green (detail), 1927-28, by Gunta Stolzl "Slit Tapestry Red/Green" is manufactured from cotton, silk and linen and was designed to be a stand-alone piece. This is one of her Once the weaving workshop had most important works as it was been divided into two separate inspired by Goblins tapestries- departments at the new premises in monumental, highly stylised and Dessau; it allowed the students to brightly coloured works produced in embrace the artistic potential of the France from 1662 onwards. medium and push the boundaries of design. Some of her textile designs reference the influence of Paul The use of red and green dyes Klee; a Bauhaus master who The striking abundance provides a pleasant contrast and sympathi sed with the difficulties of pink/ flesh tones the vertical forms help to balance faced by the textile students. contrasts beautifully with the composition. There are a wide- the other grey greens. variety of curvilinear forms, checks Her combination of and chevrons which add interest This hand-woven tapestry colours show evidence and elevate the status of the of her studies during the represent s Stolzl’s unique approach tapestry. This results in a piece to manufacturing her textile pieces. Vorkus preliminary which is dynamic and appears to Stripes, squares, rectangles and course which was run by have a life of its own. The piece free-form designs are her hallmark; the renowned artist also evokes the energetic as is a confident use of colour. Johannes Itten’s.
    [Show full text]
  • 19. Principles of Yarn Requirements for Knitting
    19. Principles of Yarn Requirements for Knitting Errol Wood Learning objectives On completion of this lecture you should be able to: • Describe the general methods of forming textile fabrics; • Outline the fibre and yarn requirements for machine knitwear • Describe the steps in manufacturing and preparing yarn for knitting Key terms and concepts Weft knitting, warp knitting, fibres, fibre diameter, worsted system, yarn count, steaming, clearing, winding, lubrication, needle loop, sinker loop, courses, wales, latch needle, bearded needle Introduction Knitting as a method of converting yarn into fabric begins with the bending of the yarn into either weft or warp loops. These loops are then intermeshed with other loops of the same open or closed configuration in either a horizontal or vertical direction. These directions correspond respectively to the two basic forms of knitting technology – weft and warp knitting. In recent decades few sectors of the textile industry have grown as rapidly as the machine knitting industry. Advances in knitting technologies and fibres have led to a diverse range of products on the market, from high quality apparel to industrial textiles. The knitting industry can be divided into four groups – fully fashioned, flat knitting, circular knitting and warp knitting. Within the wool industry both fully fashioned and flat knitting are widely used. Circular knitting is limited to certain markets and warp knitting is seldom used for wool. This lecture covers the fibre and yarn requirements for knitting, and explains the formation of knitted structures. A number of texts are useful as general references for this lecture; (Wignall, 1964), (Gohl and Vilensky, 1985) and (Spencer, 1986).
    [Show full text]
  • We Are the Rug Hooking Capital of the World”: Understanding Chéticamp Rugs (1927-2017)
    “We are the Rug Hooking Capital of the World”: Understanding Chéticamp Rugs (1927-2017) by © Laura Marie Andrea Sanchini A thesis submitted to the School of Graduate Studies In partial fulfilment of the Requirements for the degree of Doctor of Philosophy Department of Folklore Memorial University December 3rd, 2018 St John’s Newfoundland Abstract This thesis is the story of how utilitarian material culture was transformed into a cottage industry, and eventually into high art. Chéticamp rug hooking is an artistic practice, one wrapped up in issues of taste, creativity, class and economics. Rug hooking in Chéticamp rose to prominence in the first half of the 20th century when Lillian Burke, a visiting American artist, set up a rug hooking cottage industry in the area. She altered the tradition to suit the tastes of wealthy patrons, who began buying the rugs to outfit their homes. This thesis examines design in rug hooking focusing on Chéticamp-style rugs. Captured within design aesthetics is what the rugs mean to both those who make and consume them. For tourists, the rugs are symbols of a perceived anti-modernism. Through the purchase of a hooked rug, they are able to bring home material reminders of their moment of experience with rural Nova Scotia. For rug hookers, rugs are a symbol of economic need, but also agency and the ability to overcome depressed rural economic conditions. Rug hooking was a way to have a reliable income in an area where much of the labour is dependent on unstable sources, such as natural resources (fishing, lumber, agriculture etc.).
    [Show full text]
  • August 2021 Class Descriptions
    4436 Indianola Ave. Columbus, OH 43214 614-670-5629 August 2021 Class Schedule www.614knitstudio.com Beginning Crochet: Crochet is hotter than ever! Whether you have never picked up a hook or are a knitter looking to expand your skill set, this class is for you. Learn the basics, in this two- part class, such as the slip knot cast on, chain stitch, and single crochet; different hook styles and which will work best for you; the slip stitch, half-double crochet, and double crochet. You will also learn how to read a crochet pattern by getting to know stitch abbreviations and following a pattern, you will make a granny square. No Pre-requisite Skills Required! • Wednesdays, August 11 & 18 from 1- 3 p.m. with Terri • $60 plus supplies Beginning Knit: Knitting is now more popular than ever, and you can learn too! In this 2-part class, students will learn how to cast on, the knit & purl stitch, knit and purl combination stitches in the same row, and how to read a pattern. During the second class, you will learn how to shop for and start your first project, the Wheat Scarf by Tin Can Knits. No Pre-requisite Skills Required! • Mondays, August 16 & 23 from 3-5 p.m. with Susan • $60 plus supplies Beginning Knit Socks: There is nothing cozier than wearing hand knit socks. In this three-week class, you will learn all the techniques needed to knit top-down socks, including knitting in the round on double pointed needles, working a heel flap, short rows, picking up stitches and the Kitchener (grafting) stitch.
    [Show full text]
  • Clothing, Needlework and Quilt Quest
    CLOTHING, NEEDLEWORK AND QUILT QUEST All entries in the STEAM Clothing Projects, Shopping in Style, Quilt Quest, Knitting and Crocheting are judged at Conference Judging - Fashion Show Day, Thursday, July 16. These exhibits will not be judged on entry day, Tuesday, July 21. Please bring all wearable exhibits on wire hangers or hangers with a swivel hook ONLY. All exhibits that are not suitable for hanging should be entered in a plastic bag. Wool garments and garments with narrow straps hang better on other hangers, i.e. wooden or notched plastic hangers. As you look at the garment place the hook of the hanger pointing to the left. Use safety pins to fasten skirts, shorts and pants to hangers. Each piece is to be entered on its own hanger. If more than one hanger is used for an entry, fasten hangers belonging to one exhibit together with twist ties or rubber bands. Entry tag placement: as you look at the garment place the entry tag on the right side of the garment and the hook of the hanger to the left. Garments as listed may be made for self or another person. All clothing exhibits must be exhibited at the fair to receive premium. 4-H’ers enrolled in clothing projects should continue their skill development. Once you have exhibited in a higher level, you are not eligible to exhibit in a lower level. Ex: Once you exhibit in STEAM Clothing 2, you are not eligible to exhibit in STEAM Clothing 1. You may enter up to two items per class but must use different patterns.
    [Show full text]
  • Spinning Yarns, Telling Tales About Textiles
    News for Schools from the Smithsonian Institution, Office of Elementary and Secondary Education, Washington, D.C. 20560 SEPTEMBER 1980 Spinning Yarns, Telling Tales about Textiles Textiles Tell Stories: The "Age of Homespun" and in regard to spinning, weaving, and other aspects of Other Tales textile making. This exchange of ideas led to a great Consider, for example, the piece of cloth shown in many improvements and innovations in all the various figure 1. This piece of hand-loomed, plaid linen is aspects of textile making over time. Some of the most from the Age of Homespun-a period of American important of these developments are explained in the history lasting from colonial times up until the Civil next section of this article. Bull mummy-wrapping (from Egypt) War. During the Age of Homespun many of the necessi­ ties of life-including textiles-were made in the Textiles From Scratch: Fiber to Cloth home. This was especially true in remote rural areas, Traditionally the making of a piece of cloth involved .7l",;;;,;i1_ where practically every farm had its own plot of flax first the selection of an appropriate natural fiber. (For i.liIi!i,~;':;\';_-- a discussion of natural fibers, see the article on page (as well as its own flock of sheep) and there was a m1i'<!Si~ 4.) The fiber was then harvested and made ready for 1\ wool wheel and a flax wheel in every kitchen. -iW:Mii\ii\_ spinning into thread or yarn. After spinning, the yarn en@! The making of cloth for clothing and bedding de­ manded an enormous amount of time and energy was usually either knitted or woven into cloth.
    [Show full text]
  • Textured Tapestry
    Textured Created by Susan Beck Tapestry This small wall hanging is filled with simple techniques that create texture on fabric. Easy to make, each swatch is texturized in a unique way, then cut to a specific size. Backed with fusible fleece, the swatches are stitched together using the zigzag stitch for joining. Ribbon sashing covers the stitching and the outer edges are finished with bias binding (not shown). Finished size: 18” x 18” Supplies Machine & Accessories BERNINA 3 Series or 5 Series machine Pintuck Feet #30, #31, #32, #33* Edgestitch Foot #10/10C/10D Button Sew-On Foot #18 Clear Embroidery Foot #39/39C/39D Cutting & Preparation Secondary Bobbin Case Cut the following rectangles, using the fabrics of your Extra bobbin for elastic thread choice (see placement diagram on next page): Best Press Starch Alternative Steam-a-Seam 2 Lite—¼” wide - A: 14” x 6.5” *Directions call for Foot #30 and Foot #32 - B: Two, 5” x 8” each but all four (#30-33) may be used for variety - C: 11” x 5” - D: 8” x 8” Note: The rectangles Fabric & Notions - E: 8” x 8” will be cut to the final Five coordinating fabrics: ¼ yard of four; ⅝ yd of - F: 6.5” x 5” size after all textures one to be used for backing & binding - G: 15.5” x 5” have been created. Coordinating ribbon, ⅜” - ½” wide - H: 14” x 8” OESD Fuse & Fleece 2.0 and 4.0 Double Needles Cut the same size rectangles listed above from the Narrow cord such as perle cotton Fuse & Fleece but DO NOT fuse at this time.
    [Show full text]