by cindy nelson - tkga.org. oyw… · by cindy nelson 64 cast on • may – july 2007. slant...
TRANSCRIPT
We all remember our early knitting attempts. For most, the projects
had loose stitches and inconsistent tension. They probably also had
an amazing assortment of holes. Now our skills have improved and
we are not beginners. We get to create holes by choice. Those holes
set the stage for what will become lovely, intricate lace pieces.
Level 1 of the Master Hand Knitting Program requires a knitter to
demonstrate skills that lay the groundwork for lace knitting. Those
skills include blended and full fashioned decreases, yarn overs and
simple eyelets. Level 2 includes three lace swatches that are knit
using those basic skills. In Level 3 there is a circular lace swatch that
includes a central double decrease (CDD).
Lace knitting is a very old art and many patterns were handed
down orally in families and communities. In the 19th century, writ-
ing about lace knitting began to appear in England and Scotland,
including Weldon’s Practical Knitting. The history of lace knitting
and knitted lace is a fascinating study and there are many excellent
resources in the Masters bibliography.
Techniques
There is one distinction that you may encounter in patterns: the
difference between lace knitting and knitted lace. In lace knitting
the rows that include increases and decreases alternate with rows of
plain knitting. Knitted lace has lace work in every row. As you work
swatches, it may be easier to focus on knitted lace. The techniques for
both are the same. When working on a new or complex pattern it is
a good idea to add a “lifeline”. This is a smooth, contrasting yarn
added to the first row of the pattern. If there is an error in your pattern
you can rip out to the lifeline and move forward from that row.
The most common increase in lace is the yarn over (YO or yo). Some
patterns may use YF or YRN as abbreviations for yarn over. An open
M1 can also be used, but it is not common. There are many detailed
formulas for making a yarn over between knit and purl stitches. In
Level 3 you will be asked to describe each of them in detail. There is a
shorthand description that may be easier to remember: a YO always
goes over the tip of the right needle from front to back, and into
position to make the next stitch. Remember those holes from your
early work? Some of them were dropped stitches, but some occurred
because the yarn was in front of the needle before the next stitch was
knit. That is precisely how a YO is created between two knit stitches.
YOs should always be snug on the needle so the holes they create are
even and consistent. Please note the YOs below the green markers in
sample swatch 1. They should be tightened to improve the swatch.
Excess yarn in a loose YO can create “floats” or oversized stitches.
Always keep the YOs snug on the needle as you create the next
stitch.
All YOs create increases and are balanced by decreases if the stitch
count is to remain constant from row to row. Not all lace includes
eyelets. Decreases and YOs may not be side by side, or even in the
same row in some patterns, and sample swatch 3 is an example.
Lace patterns such as shawls will also use YOs to increase the size or
change the shape of the piece.
Like YOs, the decreases should be snug with no stretched stitches.
In sample swatch 1 the decreases to the right of the red markers are
stretched or loose. Keep the decreases on the tips of your needles and
baby them as you work to reduce this stretch. There are right and left
slanting and double decreases in lace work. You will find an excellent
discussion of the techniques in a two-part article by Arenda Holladay
in the Spring (February – April 2005) and Summer (May – July
2005) issues of Cast On and in an “On Your Way to the Masters”
article archive in the Member section on the TKGA Web site.
Effects
Various combinations of YOs and decreases create different effects in
lace. For example, placing the YOs and decreases side by side creates
eyelets. Check swatches 11 and 12 from your Level 1 submission.
The eyelets vary in relation to YO placement and type of decrease
used. June Hemmons Hiatt distinguishes smooth and broken eye-
lets. Smooth left is a YO before a right slant, and smooth right is a
YO after a left slant. Broken left is a YO before a left slant, and broken
right is a YO after a right slant. In sample swatch 2, the right side of
the swatch is worked with broken eyelets and the left side is worked
with smooth eyelets. The pattern is the same, but the effects are
different. Broken eyelets create the look of an “outline” for the YOs,
and the smooth eyelets create less definition and smooth fabric.
Charts and Gauge
Most lace knitting patterns include charts, which makes reading
easier. Each chart includes a key, which defines the symbols used.
The most common symbols for lace are: O for YO, and a right or left
O N Y O U R W A Y T O T H E M A S T E R S
Lace by cindy nelson
64 Cast On • May – July 2007
slant symbol for decreases. The patterns for the lace swatches in Level
2 can be written out or you can use charts. The lace swatches for
level 2 must be bordered by seed stitch, which makes blocking easier
and gauge numbers more reliable. After the swatches are blocked
(dressed), measure the lace within the borders and make your calcu-
lations based on those numbers. When you are swatching for your
lace projects, it is a good idea to border those swatches as well.
Blocking (Dressing)
The last step for lace is blocking, also called dressing in some re-
ferences. This is a critical step and should not be taken lightly. Lace
can look like a rumpled mess when it comes off the needles. It is
essential that the work is stretched out and the pattern opened up.
Wet blocking is an appropriate method and lace requires a lot of rust-
proof pins. Blocking wires are a useful alternative to pins for block-
ing straight or curved lace edges. A cord can also be laced through
the points for that type of lace edge and then pinned out to size and
shape. Blocking frames, used in the Shetland Islands, are good for
large pieces, which are often blocked under tension. When blocking
swatches, stretch the piece to the correct size and shape before pin-
ning. A border on the swatch makes the blocking process easier.
Conclusion
What does the committee want to see in lace swatches? First, ap-
propriate yarn choice. Use a fine or superfine yarn, preferably in wool
or wool blend that is smooth and light colored. Cotton yarn can be a
wonderful choice for lace doilies, tablecloths, and summer afghans.
It can be difficult to maintain good tension in cotton, and the use
of starch is discouraged for swatches. Second, appropriate choice of
pattern. The pattern must be of a size to work sufficient multiples and
repeats while staying within the required swatch size. Consistent ten-
sion is very important and can be the make or break point. The YOs
and decreases must be even and consistent throughout the piece.
Good finishing is extremely important, and a poorly blocked swatch
is not acceptable. Please take great care with this step.
Work within your skill set and don’t try to do something overly
complicated. The committee has seen it all before. It is much better
to do an excellent job on a simple piece showcasing your best work.
Beautifully done, simple patterns are truly works of art.
Finally, we offer a note of caution. Lace knitting can be addictive.
Once you start you may find yourself scouring your local yarn store
for books and yarn to add to your stash.
ReferencesAmedro, Gladys, Shetland Lace, The Shetland Times Ltd, 1996Hiatt, June Hemmons, Principles of Knitting, Simon and Schuster, 1988Miller, Sharon, Heirloom Knitting, The Shetland Times Ltd, 2002Sowerby, Jane, Victorian Lace Today, XRX Books, 2006Stove, Margaret, Creating Original Hand Knitted Lace, Lacis Publication, 1995Waterman, Martha, Traditional Knitted Lace Shawls, Interweave Press, 1998
Editor’s Note: Special thanks to TKGA Master Hand Knitting Committee members Carolyn Vance, Joan Janes and Moira Ravenscroft for their valuable contributions to this article.
1
2
3
65www.TKGA.com