INCREASE and DECREASE D Let's Learn to Knit -- with Increase and Decrease
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Mary Walker Phillips: “Creative Knitting” and the Cranbrook Experience
Mary Walker Phillips: “Creative Knitting” and the Cranbrook Experience Jennifer L. Lindsay Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2010 ©2010 Jennifer Laurel Lindsay All Rights Reserved TABLE OF CONTENTS LIST OF ILLUSTRATIONS.............................................................................................iii PREFACE........................................................................................................................... x ACKNOWLDGEMENTS ............................................................................................... xiv INTRODUCTION .............................................................................................................. 1 CHAPTER 1. CRANBROOK: “[A] RESEARCH INSTITUTION OF CREATIVE ART”............................................................................................................ 11 Part 1. Founding the Cranbrook Academy of Art............................................................. 11 Section 1. Origins of the Academy....................................................................... 11 Section 2. A Curriculum for Modern Artists in Modern Times ........................... 16 Section 3. Cranbrook’s Landscape and Architecture: “A Total Work of Art”.... 20 Part 2. History of Weaving and Textiles at Cranbrook..................................................... 23 -
Origins of Fair Isle Knitting
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America Spring 2004 Traveling Stitches: Origins of Fair Isle Knitting Deborah Pulliam [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Pulliam, Deborah, "Traveling Stitches: Origins of Fair Isle Knitting" (2004). Textile Society of America Symposium Proceedings. 467. https://digitalcommons.unl.edu/tsaconf/467 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Traveling Stitches: Origins of Fair Isle Knitting Deborah Pulliam Box 667, Castine ME 04421 207 326 9582 [email protected] The tradition of Fair Isle knitting seems to have been emerged too well developed to have actually started in the islands north of Scotland. This paper suggests a source in the Baltic region of Eastern Europe. Like much of the “history” of knitting, much published information on the history of Fair Isle-type knitting is folklore. The long-standing story is that a ship, El Gran Grifon, from the Spanish Armada, was wrecked on Fair Isle in 1588. The 17 households on the island took the sailors in. That much is true, and documented. The knitting story is that, in return, the Spaniards taught the islanders the brightly colored patterned knitting now known as Fair Isle. Not surprisingly, there appears to have been no multi-colored knitting tradition in Spain in the sixteenth century. -
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. -
Textiles and Clothing the Macmillan Company
Historic, Archive Document Do not assume content reflects current scientific knowledge, policies, or practices. LIBRARY OF THE UNITED STATES DEPARTMENT OF AGRICULTURE C/^ss --SOA Book M l X TEXTILES AND CLOTHING THE MACMILLAN COMPANY NEW YORK • BOSTON • CHICAGO • DALLAS ATLANTA • SAN FRANCISCO MACMILLAN & CO., Limited LONDON • BOMBAY • CALCUTTA MELBOURNE THE MACMILLAN CO. OF CANADA, Ltd. TORONTO TEXTILES AXD CLOTHIXG BY ELLEX BEERS >McGO WAX. B.S. IXSTEUCTOR IX HOUSEHOLD ARTS TEACHERS COLLEGE. COLUMBIA U>aVERSITY AXD CHARLOTTE A. WAITE. M.A. HEAD OF DEPARTMENT OF DOMESTIC ART JULIA RICHMAX HIGH SCHOOL, KEW YORK CITY THE MACMILLAX COMPAXY 1919 All righU, reserved Copyright, 1919, By the MACMILLAN company. Set up and electrotyped. Published February, 1919. J. S. Gushing Co. — Berwick & Smith Co. Norwood, Mass., U.S.A. ; 155688 PREFACE This book has been written primarily to meet a need arising from the introduction of the study of textiles into the curriculum of the high school. The aim has been, there- fore, to present the subject matter in a form sufficiently simple and interesting to be grasped readily by the high school student, without sacrificing essential facts. It has not seemed desirable to explain in detail the mechanism of the various machines used in modern textile industries, but rather to show the student that the fundamental principles of textile manufacture found in the simple machines of primitive times are unchanged in the highl}^ developed and complicated machinerj^ of to-day. Minor emphasis has been given to certain necessarily technical paragraphs by printing these in type of a smaller size than that used for the body of the text. -
13, 53, 56-57 Imogene Shawl. Knits: 13, 53, 57-58 Corsage Scarf
Knits Index Through Knits Summer 2017 Issue abbreviations: F = Fall W = Winter Sp = Spring Su = Summer This index covers Knits magazine, and special issues of Crochet, Knit.Wear, Knit.Purl and Knitscene magazine before they became independent journals. To find an article, translate the issue/year/page abbreviations (for example, “Knitting lace. Knits: Su06, 11” as Knits, Summer 2006, page 11.) This index also includes references to articles and patterns on the website, some of which are for subscribers only. Some of these are reprinted from the magazine; others appear only on the website. The first issue of Crochet magazine appeared in Fall, 2007. This index includes all of the special issues of Knits magazine devoted to crochet before Crochet became its own publication. After Spring, 2007, Crochet issues do not appear in this index, but can be found in the Crochet index. For articles indexed before that time, translate “City Stripes. Knits (Crochet): special issue F06, 90” as the special issue of Knits, labeled “Interweave Crochet,” Fall 2006, p. 90. The first issue of Knitscene magazine as an independent journal appeared in Spring, 2011. This index includes all of the special issues of Knitscene magazine before Knitscene became its own publication. After Spring, 2011, Knitscene issues do not appear in this index, but can be found in the Knitscene index. For articles indexed before that time, translate “City Stripes. Knits (Knitscene): special issue F06, 90” as the special issue of Knitscene, labeled “Interweave Knitscene,” Fall 2006, p. 90. The first issue of Knit.wear as an independent journal appeared in Spring, 1017. -
Knitting – Bias Dish Cloth
SOUTH CAROLINA FAMILY AND COMMUNITY LEADERS Affiliated with National Volunteer Outreach Network, Country Women’s Council, U.S.A., Associated Country Women of the World and in partnership with Clemson University Cooperative Extension Service SCFCL website: http://www.scfcl.com Leader Training Guide Knitting - Bias Dish Cloth Objectives: Participants will learn some of the basics of knitting and the history of knitting. Lesson Overview/Introduction: Instructor needs to be a knitter with equipment to teach the lessons. Materials needed: Large knitting needles for each member 100% cotton yarn Lesson: History of knitting The work “knitting” came from an old English word, cnyttn, which means “to know”. With limited information on the history of knitting, we cannot pinpoint the time of its origin. It is thought to be older than other handcrafts. It is believed to be connected to the ancient skill of knotting fishing nets. The Victoria and Albert Museum displays socks from 300-400. According to the museum, they were knitted in stocking stitch using three-ply, wool, and a single needle technique. Two-needle knitting is believed to have come from Egypt in the 11th century where more socks were found. In 1589, the knitting machine was invented. The early knitting needles were made of bone, ivory or tortoise shell. KNITTING TOOLS Scissors: Keep a small pair of scissors or shears handy for cutting yarn, trimming pompoms, etc. Be sure to keep scissors in a case for safety. Tapestry Needle: A blunt-pointed tapestry needle is used for sewing seams. A straight, steel needle is best. Some tapestry needles have a “hump” around the eye. -
Memory in the Fingers: an Exploration of Knitting Through the Lens of Modern Knitters' Lives Sinclair Rishel University of Mississippi
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2016 Memory in the Fingers: An exploration of knitting through the lens of modern knitters' lives Sinclair Rishel University of Mississippi. Sally McDonnell Barksdale Honors College Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Part of the Journalism Studies Commons Recommended Citation Rishel, Sinclair, "Memory in the Fingers: An exploration of knitting through the lens of modern knitters' lives" (2016). Honors Theses. 866. https://egrove.olemiss.edu/hon_thesis/866 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. Memory in the Fingers An exploration of knitting through the lens of modern knitters’ lives By Sinclair Rishel A thesis submitted to the faculty of the University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford, Mississippi April 2016 Approved by __________________________________ Advisor: Dr. Kathleen Wickham __________________________________ Reader: Ms. Ellen Meacham __________________________________ Reader: Mr. Charlie Mitchell © 2016 Sinclair Rishel ALL RIGHTS RESERVED ii Acknowledgements I would like to take this opportunity to thank those who have been instrumental in the creation of this thesis. To all of my interviewees, your stories have inspired and excited me. It was my great pleasure to tell each one and I thank you for sharing them with me. I hope I’ve done them justice. To my thesis advisor, Dr. -
4JE-02PO: Let's Learn to Knit with Increase and Decrease
4JE-02PO COOPERATIVE EXTENSION SERVICE UNIVERSITY OF KENTUCKY—COLLEGE OF AGRICULTURE Unit 2 Let’s Learn to Knit with Increase and Decrease Linda Heaton, Textiles and Clothing Specialist 18 U. S. C. 707 Agriculture & Natural Resources • Family & Consumer Sciences • 4-H/Youth Development • Community & Economic Development This publication was originally prepared by Jo Ann S. Hilliker, former state Extension specialist in clothing and textiles. Special appreciation is extended to the committee who inspired this project and who worked long hours to make it a reality. Many thanks to: Thelma Smith, Shelby County Leader Mrs. Glenn Riggs, Fayette County Leader Katherine Hixson, Harrison County Leader Jane Bailey, former Shelby County Extension Agent for Home Economics Karen Hill, former Extension Program Specialist for 4-H Mention or display of a trademark, proprietary product, or firm in text or figures does not constitute an endorsement and does not imply approval to the exclusion of other suitable products or firms. Contents Your Guide for the Project .......................4 Gauge ....................................................12 You Will Learn ..................................................4 Check the Gauge .......................................... 12 Articles You Will Make ....................................4 Care of Synthetic Yarns .........................13 Exhibit Your Work ............................................4 Machine Washing and Drying .................. 13 Add to Your Record Book ...............................5 -
Tiny Baby Ear Snuggling Hat by Diana Troldahl
Tiny Baby Ear Snuggling Hat By Diana Troldahl Written expressly for charities supported by Wool-Aid, this tiny 12-14” hat is also suitable for preemies. A ribbed forehead and shaped garter-stitch ear and neck snuggler make sure this hat will fit. Materials: 50 – 75 yards Aran or bulky weight yarn on #8 needles. Pattern is written for DPNs but easily adjusted for using magic loop or two circular needles. Green hat was made using 4 strands of Knit Picks Shadow Tonal in Spring Time. Purple hat was made using Knit Picks City Tweed in Morning Glory. -Aran gauge is 4.6 stitches per inch, bulky is 4 stitches per inch. Using Aran yarn will result in a 12” hat, bulky will give you a 14” hat. Both measurements are taken unstretched and allow for 2- 3 inches of negative ease. -You will also need two stitch markers and a yarn needle for weaving in ends. Abbreviations: Beg: beginning PSSO: pass slipped stitch over BOR: beginning of Round Rem: Remain(ing) CO: Cast on RM: remove marker K: knit RS : Right Side K2tog: knit the next two stitches together Sl: Slip the next stitch(es) as if to purl Kfb: knit in the front and back of the next stitch SM(s): slip marker(s) PM: Place marker St(s): Stitch, stitches Cast on 32 stitches using your preferred cast on. Do Not Join. This part of the hat is knit flat. Knit 2 rows (garter stitch) Row 3: (RS) k 6, pm, k 20, pm, k 6 Row 4: knit Row 5: k1, kfb, k until 3 sts rem, kfb, k2 (34 sts) Row 6: knit Work rows 5 and 6 twice more (these will be rows 7, 8, 9 and 10) (38 sts) Row 11: k until 2 sts past first marker, kfb, k1, kfb, k9, kfb, k1, kfb, k to end, (42 sts) Row 12, 13, 14, knit (removing markers) Row 15 (Set up row for working in the round): Instructions below are written for using DPNS. -
How to Knit Entrelac Plus 6 Free Entrelac Knitting Patterns Entrelac Knitting: How to Knit Entrelac Plus 6 Free Entrelac Knitting Patterns
Entrelac Knitting: How to Knit Entrelac Plus 6 Free Entrelac Knitting Patterns Entrelac Knitting: How to Knit Entrelac Plus 6 Free Entrelac Knitting Patterns ENTRELAC IS A KNITTING TECHNIQUE and then goes beyond the basics to show you how THAT’S USED TO CREATE FABRIC THAT to knit entrelac in the round. LOOKS LIKE IT’S WOVEN. The patterns include an easy scarf pattern, darling The fabric is knitted in interlocking rectangles and entrelac felted bags, some really interesting and triangles; stitches are picked up and knit from the fun mitts, a lovely shrug, a flattering tee, and some edges of previously knit sections. truly amazing socks. Entrelac can be knit flat or in the round, in Have fun learning entrelac and knitting these stockinette or garter stitch, in one color or in fabulous free patterns! multiple colors. It’s a very versatile stitch pattern! Cheers, In this free eBook, we’re going to teach you how to work entrelac, and then supply you with a few patterns that’ll really get you going! We begin with an in-depth tutorial by Eunny Jang, Kathleen Cubley which shows you the basics of entrelac knitting Editor, KnittingDaily.com Contents ENTRELAC KNITTING: HOW TO KNIT ENTRELAC PLUS 6 FREE ENTRELAC KNITTING PATTERNS Entrelac: Knitting Block by Block by Eunny Jang ........... PAGE 3 A Knitting Daily eBook edited by Kathleen Cubley The Basic Entrelac Scarf by Lisa Shroyer ................................. PAGE 8 EDITORIAL STAFF EDITOR, KNITTING DAILY Kathleen Cubley CREATIVE SERVICES Felted Entrelac Key Fobs by Susan Pierce Lawrence .........PAGE 13 PRODUCTION DESIGNER Nichole Mulder and Janice Tapia Reservoir Mitts by Allyson Dykhuizen.............................................PAGE 16 PHOTOGRAPHY As noted ILLUSTRATION Gayle Ford Projects and information are for inspiration Cochin Shrug by Eunny Jang .............................................................PAGE 19 and personal use only. -
Chapman, Roslyn (2015) the History of the Fine Lace Knitting Industry in Nineteenth and Early Twentieth Century Shetland
Chapman, Roslyn (2015) The history of the fine lace knitting industry in nineteenth and early twentieth century Shetland. PhD thesis. https://theses.gla.ac.uk/6763/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] The history of the fine lace knitting industry in nineteenth and early twentieth century Shetland Roslyn Chapman MA (Hons), MLitt Submitted for the Degree of Doctor of Philosophy History School of Humanities College of Arts University of Glasgow April 2015 Abstract This thesis tells the story of Shetland knitted lace. It is a history that comprises more than a series of chronological events which illustrate the development of a domestic craft industry; it is also the story of a landscape and the people who inhabited it and the story of the emergence of a distinctive textile product which achieved global recognition Focusing on the material culture of Shetland lace opens up questions about the relationships between the women who produce it, the men and women who sell it and the women who consume and wear it. -
Knitting: a Novel
uNl 2- ìo KNITTING A NOVEL: A RETROSPECTIVE VIEW Anne Bartlett Thesis submitted for the degree of Doctor of Philosophy ln Greative Writing DisciPline of English School of Humanities and Social Sciences UniversitY of Adelaide November 2005 DEDICATION for Dr Susan Hosking for a child learning' we My mother would have no truck with patterns, even peculiar and I see simply cast on and led away. To some people this seems nowitispuzzling-lamevenabitsurprisedmyself-butatthesametimeit such as gathering in the seemed utterly natural. when I got to a difficult bit, to knit two together' waist, my mother would take the needles, show me how pass it back' Then knit four, then knit two together, and off I'd go, as she'd stitch' You do one purl she would say, 'l think the bodice should be in moss over the needles to one plain for that. see, I'll show you. Put the wool I knew nothing' change the stitch. That's right.' so, fearing nothing because off I'd go. Arm holes the same. see, only ,You',ll need to decrease now, I'll show you how to cast off' Then one ordinary row' four stitches to cast off here, one each side at first' up. see, it'll make a and next row cast off two, then one. Then go straight go.' And later, 'Now the neck' shape to set the sleeve in. Good girl. off you central ones on this count the stitches, I'll divide them for you. Put the six other than I safety pin.' Truly, I see now, untrammelled by expectations a computer if could do anything she asked of me, I could have mastered language of we,d had one, or a language like French, or Russian...The names of stiches' knitting was a world if its own, with all the wonderful feather and fan, blackberry, cable, moss, Vandyke' Kate Llewellyn, The Ftorat Mother (136) 2 TABLE OF CONTENTS 2 DEDlCAT|ON.....