1 Slip the first three cable stitches purtwise off the left-hand needle and onto the cable needle. Leave the cable needle at the back of the work, then knit the next three stitches on the left-hand needle, keeping the yam tight to prevent a gap from forming in the knitting.
2 Next, knit the three stitches directly from the cable needle, a if preferred, slip the three stitches from the cable needle back onto the left-hand needle and then knit them. This completes the cable cross.
1 Slip the first three cable stitches purlwise off the left-hand needle and onto the cable needle. Leave the cable needle at the front of the work, then knit the next three stitches on the left-hand needle, keeping the yam tight to aevent a gap from forming in the knitting.
2 Knit the three stitches dire from the cable needle, or if aeferred, slip the three stitch from the cable needle back onto the left-hand needle and then knit them. This complete the cable aoss.
knitted textures basics 41
A bobble is created by working increases into one stitch and then reducing them back to one stitch once it is completed. Two versions are shown here - one worked over one row and the other over several, turning rows. Both can be made bigger or smaller by working fewer or more stitches, or fewer or more rows. Although these bobbles are shown worked on a stocking stitch background, you could also work them on reverse stocking stitch. The multi-row bobble can be worked in either stocking stitch (as it is here) or in reverse stocking stitch fa a different texture; to do this work your first row after the first turning (step 2) as a knit a a purl row.
1 To make four bobble stitches from one stitch, knit into the front of the next stitch in the usual way, then knit into the back, the front and the back of the same stitch befae slipping it off the left-hand needle (see 'inc one' on page 18 fa how this is done). Lift the second stitch on the right-hand needle over the first stitch and off the needle as shown.
2 Then take the third and fourth stitches over the first stitch and off the needle in the same way, one at a time. This decreases the four stitches back to the one stitch and completes the one-row bobble.
MULTI-ROW BOBBLE ('make bobble')
MULTI-ROW BOBBLE ('make bobble')
1 To make five bobble stitches from one stitch, knit into the front of the next stitch in the usual way, then knit into the back, the front, the back and the front of the same stitch befae slipping it off the left-hand needle (see 'inc one' on page 18 fa how this is done).
2 Turn your knitting and purl the five bobble stitches, then turn and knit the five stitches. Work one more purl row and one more knit row on these same stitches, so your last row is a right-side row.
3 With the right side still facing, insert the point of the left-hand needle in the second stitch on the right-hand needle and take it over the first stitch and off the needle. Then do the same with the third, fourth and fifth stitches, one at a time, to complete the bobble. (A variation of this can be made by working the third and fourth turning rows thus: p2tog, p1, p2tog, turn, slip 1, k2tog, psso.)
Cable panels class
I love texture. I love the fact that by putting cables, bobbles and raised stitches together you can create your own unique knitted landscape.
Here are some guidelines fa how to do just that.
When starting to design an Aran knit, I begin by sketching out simple shapes and then filling them in with linear details of stitch patterns. I like to instil a harmony in the design, and feel that the best way to achieve this is to choose stitch panels that link in some way. It may simply be that a moss stitch centre to a diamond-shaped cable is carried over to moss stitch welts and selvedge borders, or that all the cables and ribs are created by knitting into the back of the stitches, giving them mae definition.
The swatches here show the design process behind the Lace Denim Tunic that appeared in my book Family Collection. First I chose a denim cotton yam that does not fade like the blue version, but that shows up textured stitch patterns beautifully- It is a heavy yam, however, so to create a mae delicate openwork look I decided to introduce lace stitches in the design.
For me, the design process always begins with knitting up each of my selected stitch patterns in a separate swatch. This is
In the Aran Throw on page 51,1 have used traditional stitch patterns in a patchwork of texture. You could isolate the squares and knit them separately to practise all the components of Aran design. There are vertical cables, travelling cables (where the cable is worked to the left a the right) and bobbles. You will notice that the squares when worked together in the throw are not perfect. This is because the cables pull in mae in some squares than others,
To design your own Aran sweater, choose your stitch pattern panels and knit them up as swatches. Then arrange the panels, selecting one for the centre and the others fanning out from it. In your final sequence you will repeat the panels on the right of the centre panel, on the left of that panel. When you find a sequence that you like, you can look fa a suitable border. You may find a bader in the Edgings chapter that then woks really well with your panels.
Measure the distance from the centre of the panel that you have chosen for the middle of your design, out to the outside edge of your first panel. See if this is half the actual width of the garment you want to make. Then add mae panels a take away panels if you need to, until you achieve the measurement that you need. Keep important because these individual swatches can then be positioned and repositioned next to one another until the best sequence is achieved. I even knit the four-stitch and six-stitch cab panels that I will use to divide the larger cables to see which one works best with the proportions of the other patterns. A six-stitch cable may look too heavy, or a four-stitch one too insignificant in relation to the panels next to them.
Fa the Denim Lace Tunic, I first knitted the central panel - a pattern with beautiful lace diagonals that also created a slight trellis effect. I wanted the other panels to echo this, so I chose ones that had lace diagonals a chevrons, and cables that also had a woven or trellis look. I felt it was important to then add a pretty, but not too | lacy, lower bader to the tunic. The Chevron Lace edging, knitted onto the bottom of the swatches was perfect. It aeated a scallop effect that also worked well at the bottom of the sleeve and as a neckband. (See page 105 fa instructions fa Chevron Lace.)
distorting the shape of the patches. To be perfect, increasmgs ar.J decreasings would have to have been worked after each horizont line of patches to compensate fa this slight distortion. However, I I felt that if you were a knitter that had not tackled such a large pise as this befae, you may have been daunted by the idea of working] 'shaping rows' as well. As the throw will be probably be draped casually over a bed or sofa, no one hopefully will care!
your sweater shape simple - a tunic shape with straight sides, and dropped shoulders will be ideal. (See the Simple Shaping Class on pages 26 and 27.)
Positbn your front neck with care. Try not to work your cable crosses just prior to where your neck shaping starts, as this can distort your neckline. On the sleeves, you will find that you can only place a certain amount of stitch panels after your cuff, a your sleeve width at the bottom will be too wide. This means that as increase up the length of the sleeves you will need to add stitches into a simple stitch pattern. Use one that has an interesting stitch texture, such as double moss stitch, rather than reverse stocking stitch, which can look flat and rather 'bare'.
cable panels class 43
44 knitted textures
Once you have designed a series of panels fa an Aran sweater, you can give it an extra-special look by detailing with the perfect borders, cuffs, neckband a collar. By taking the time to do this you will make your own design mae personal, and certainly mae original than ready-to-wear a mass-produced knitwear.
Textured knits usually look much nicer if stitch patterns from the main part of the design are also carried through into welts. This can mean at its simplest that a rib that may separate cables is also carried down into the ribs of the welt, a that a four-stitch cable in the body is also included in the ribs. In the Cabled Sweater on page 59,1 felt it was really important that some of the complex stitch patterns on the sweater were also part of the double rib borders at the bottom of the body and sleeves. Adding them to the deep neckband also helped to create a mae rigid collar that stands away from the neck.
A mae dramatic effect can be created by running a large centre pattern panel down into the lower welt and up into the neckband, a by having no lower border at all, thus giving it an unstructured look. If bobbles are used in a main pattern and it does not make the design too over-the-top by doing so, you could also try introducing a small bobble in the purl stitches of the ribs.
This does, however, draw attention to the fact that cables will draw in the knitted fabric. If, for instance, you were customizing a simple sweater by introducing a centre cable panel, you would notice that the actual width of the piece is narrowed by the cable. To aevent this, knitting designers usually compensate by increasing to more stitches after a lower bader is completed and before the cable pattern is started. This does, unfortunately, make it mae difficult when you are running patterns down into your baders, since you need to work your inaeases in places that do not then affect the continuity of those patterns.
Different yams and weights produce different effects - a fine cotton yam can give crisp, sharp stitch detailing which can look perfect on a neat, textured summer jacket, but a thicker cotton yarn can add too much weight to a generous Aran-style tunic. A double knitting wool rarely gives the stitch detail I like, so I tend to work in an Aran-
weight wool. One of my favourite yams has to be a denim yam that fades as it is washed and worn. As it fades on textured designs I the colour change can highlight the mae raised stitches, giving them added depth. The garment then becomes mae beautiful as time goes on.
Was this article helpful?