Twist Collective Blog
Design Process: Mystère
by Cecily Glowik MacDonald Originally published on her blog, Winged Knits.
I am so thrilled to have a design included in twist collective's Winter 09 issue. For this design I began with the idea that I wanted a pullover that could be worn dressed up with a skirt or just thrown on with jeans, something very versatile and easy to wear. I really wanted it to be a rather simple knit with a few easy details to keep it interesting, what I think of as relaxing, almost meditative knitting.
I love the texture of the Reverse Stockinette Stitch up against the smooth Stockinette Stitch panels. Down the center of the Stockinette Stitch Panels on the front and back is what I called a “shadow cable”. This cable is twisted many rows apart to keep it from pulling the stitches as much as a traditional cable does, this keeps the panel more flat and adds a bit of “Mystère” as to what the stitch is.
And the saddle shoulder is an unexpected touch.
The lovely gray in the model sweater is a wonderful choice for a garment that can be worn with many outfits, but I also think that this design would work well in a strong, bright color. However, when choosing a color for this sweater it is important to note that the darker the color, the less visible the shadow cable will be. The cable is basically visible because of the shadows cast by the twisted, raised stitches, the darker the color, the less contrast there is between the shadows and highlight areas.
One of my favorite things about the internet is how it spreads the inspiration around, be it a spark of an idea for an entirely new design, or a full blown finished object from another knitter to admire, and heck, copy stitch for stitch. In this post, I thought I'd share with you some of the "jazz riffs" on Twist projects I've come across in the last few weeks (including an FO of my own, if you'll indulge me a bit), and a few ideas I have for projects to come (again, with the indulgence).
I always enjoy it when a knitter transposes a chart or a cable pattern from one pattern into another silhouette or socks or mitts. The Sleepy Monkey Blanket, Little Birds, Harika, and Sylvi have all enjoyed alternative incarnations since they were released to the creativity of knitters. I'm keeping my fingers crossed that someone will similarly take Robin Melanson's Frost Tapestry to a new level, perhaps as a black and white sweater with that chart emblazoned across the chest.
Sometimes it's proportion that transforms a pattern from a "nice enough" to a "must knit", like the Karazuri Bag from Leila Wice. Here it is in the original size, and also a shorter version which I think is delectable.
The potential of any pattern for personal translation is terrific, but Twist knitters seem to be particularly attuned to how to make our patterns work for them. No one has put sleeves on Uhura yet, but I have seen a sleeveless Pas de Valse, and a Kelmscott in process that convinced me it would also make a great vest. These are tweaks of detail that make a finished project special.
Martha's version (ravelry link) of Mari Muinonen's Luminen really grabs me. Martha omitted the snowflakes of the original design, and continued the cable that borders the front edge and pockets so that it became a low slung belt around the back.
Suddenly this design has traded a bit of the wholesale whimsy of the original for some sophistication. And if you ask me, that gorgeous shade of Cascade 220 Heathers doesn't hurt a bit.
It's wonderful how colour can change the perception of a pattern. Often we photograph a sweater in cream or light colours so that all the little details won't be missed on the webpage. Fiona Ellis's Paula is a good example of such a sweater whose wonderful cables and traveling stitches could have been lost if we chose a dark yarn. I couldn't wait to make my own version in a bright happy green, a perfect antidote for the gloom of winter in New England.
Another sweater I think can be jazzed with as far as color goes is Kate Gilbert's Kirigami. It's a sweater of unique construction techniques, and the two knitters I have heard from so far who have made it say it was the most fun sweater they ever made. I can't wait. This image of a striped iceberg (via WebEcoist)
has planted an idea in my head to knit Kate's sweater out of Kureyon or Silk Garden, with a complimentary plain yarn, but probably not snow white. Can't you just picture it?
Like I said, you never know where you're going to find ideas out here.
Polar Chullo Color Variations
by Mary Ann Stephens, orginally published on her blog Two Strands.
That’s my Polar Chullo. The yarn pack featuring Jamieson's Shetland Spindrift is available here.
If you’re moved to knit the design but want different colors, I’m busy putting a few alternate colorways together. At 9 sts/inch, I’d recommend either the Spindrift or Dale Baby Ull (which I used for my Postwar Mittens, which were knit at exactly the same gauge.) Here are some colorways to consider and I’ll add more as they become available:
Style Notebook, featuring Bijou
Funny thing about writing a blog is how often you run into people who never actually read the words, but instead just look at the pictures. So for the benefit of those who glaze over after a few dozen of the things, here in living color is what I meant when I said a few posts ago about how dressy accessories can transform a sweater into a party sweater, using Marnie MacLean's Bijou as an example:
Bijou by Marnie MacLean
Design Process: Sarabande
by Kristen TenDyke, orginally posted to her blog
When Sarabande was first born, I had many different visions for how it might look. I knew there would be stockinette stitch for the majority of the body and sleeves, and I wanted a fair isle band around the lower part of the yoke, but I was indecisive about using bobbles or eyelets, garter or seed stitch.
The first swatch I had made was in a skin-tone color and had bobbles. After discussing with my friends what the skin-tone bobbles looked like, I promptly frogged that swatch, and reknit it to show eyelets.
I liked it better than its "indecent" sibling, but the fair isle strands are visible through the eyelet holes which I wasn't entirely fond of. I tried seed stitch to create a subtle band below the fair isle band. I liked how soft and discrete the seed stitch made this band appear, but I was unsure how it would look for the entire yoke.
I swatched the bobbles again — this time in a different color, and I tried a garter stitch band, for a more bold statement. I liked both the garter stitch and the seed stitch, each for their own reasons.