Lille Bold

I’ve knit a handful of small balls from leftover Fenris wool, and I have to say my family has never shown more interest in my knitting! “What are you making?”, “Can I have one?”

~

I’ve just finished knitting a new version of my Vindauga Baby Blanket, which is much easier to knit than the original version (and I’ll release the updated pattern on Ravelry one of these days). And I have to say it puts me in an excellent mood to look at all this garter stitch and stripes:

Vindauga Baby Blankets, top one dyed with tansy and indigo, bottom one cochineal and indigo.

Looking at the leftovers of both white background color and different blue and purple contrast colors, it dawned on me that I could make a small fun project. And here it is: Lille Bold (that’s Danish and just means small ball). Anyone knitting the Fylgje Shawl with a kit will also have plenty of leftovers.

The ball is knit in small short-row modules in garter stitch, stuffed, and then seamed.

I use a very simple – possibly the simplest – short row technique. After turning, simply slip one stitch purlwise with yarn in front. That’s it, I don’t knit stitches together later or anything of the sort.

Several examples of the Lille Bold along with some tiny leftover skeins, dyed with indigo and cochineal.

PATTERN

Yarn, Gauge, Needles, Notions

Fenris pure wool, 450 m / 100 g (492 yd / 3.53 oz) white main color and a contrast color. Each ball takes about 5 g of main color (25 yards) and 3 g of contrast color (15 yards).

A pair of 2.5 mm (US 1) double pointed needles, a tapestry needle.

My gauge was about 12 garter stitches to 5 cm (2 inches), and that gave me a ball with about 7.5 cm (3 inches) diameter.

Abbreviations

CC – contrast color, co – cast on, k – knit, MC – main color, RS – right side, sl – slip, sl1wyif – slip 1 stitch purlwise with yarn in front, st(s) – stitch(es), WS – wrong side.

Instructions

Using CC, co 24 sts. Leave a tail of at least 20 cm (8 inches) to use later. K 24.

MC Section

Change to MC – leave CC attached for later.

Row 1 (RS): sl 2 sts, k 20, turn.

Row 2 (WS): sl1wyif, k 13, turn.

Row 3: sl1wyif, k 7, turn.

Row 4: sl1wyif, k 9, turn.

Row 5: sl1wyif, k 11, turn.

Row 6: sl1wyif, k 13, turn.

Row 7: sl1wyif, k 15, turn.

Row 8: sl1wyif, k 16, turn.

You have now worked one repeat of the pattern. Now, repeats are worked by knitting 2 rows with CC, then working the 8 rows of the MC section. Work 9 repeats in this way. You now have a total of 10 repeats.

K 1 row with CC. On next row, co the 2 first and 2 last sts. Break CC yarn.

Work MC section once. Sl 2.

Use CC ends to sew the bound-off CC sts to the co. Thread yarn through all the garter bumps of the end, tighten, and weave in end.

Stuff the ball with carded wool or fiber stuffing. With MC, you can either cast off all sts and sew the ball closed. Or, you can sew the live sts to the co edge.

That’s it. Happy knitting!

Lille Bold

Dansk mønster findes her.

Fylgje

Fylgje is a very large winter shawl, knit in stripy modules. I’ve worked on variations of it for a long time.

Hurray! The pattern for my Fylgje shawl is now released, in Knitty Winter 2017. I’ve been following the magazine for such a long time, so I can hardly believe that my pattern is now part of it.

I submitted a lot of photos, but the ones I though would be considered the best were not picked. Since I’m not trained in photography, I’m still always wondering what makes a good photo. I know which ones I like, but many times, I’m not completely sure why.

Anyway, here’s a handful of photos that are not in the pattern:

My mom wearing the shawl, gazing into the forest. Several people have commented that she is very stylish, and I agree. This is a picture with no make-up or photoshop, so she looks like this in real life.
This is taken later in the year, and I like the slope of the shawl on the shoulders.
Walking down the street. I know you’re not supposed to take photos into the sun, and the background is rather dull, but I like the movement and the line of the lamppost’s shadow.
With my daughter. She wasn’t supposed to be in any photos so she is in her pajamas. We wrapped her in one of the shawls so no nightwear is showing. I think it makes them both look a bit funny, but they look very pleased!

Looking for Fylgje knitting kits? Find them in my Etsy store.

Folkvang Tam

Folkvang is a classic tam with a couple of twists

Folkvang tam, here shown in indigo blue with accents from velvet pax and reed flowers.

Color knitting makes a wonderfully warm fabric, but the yarns that behave the very best in stranded knitting are not very wonderful right against the skin.

I think I’ve solved that problem with the design for the Folkvang tam. The first twist is that it begins with a turned hem, lined with laceweight silk-merino, Bestla (600 m / 100 g, or 656 yards / 3.53 oz). Then, the rest of the hem and hat is knit in Fenris, my pure wool 2-ply fingering (450 m / 100 g, or 492 yards / 3.53 oz).

So you have the warmth and strength of Fenris, but only the soft Bestla touches your forehead.

Inside the hem, there’s lovely soft Bestla silk-merino.

The other twist is the color knitting. I’ve admired Bohus knitting for a very long time, and this design draws its inspiration from the Bohus tradition.

Bohus designs are often asymmetric in the direction of knitting, so motifs don’t have a center that they repeat around. During swatching, I did away with that, settling on a simple square pattern with repeated rounds. The important thing that I kept from traditional Bohus is purl stitches in the colorwork. That is what really makes the design, and I am a bit in love with the way that purling makes the background colors mix together:

The blue Folkvang tam on the left, on the right, a version dyed only with mushrooms: the grey-green is from velvet pax, the pinks from Cortinarius species.

To celebrate the release of the pattern, is is 50% off until Sunday November 26th at my Ravelry store.

And, the first 25 to comment below get a free copy of the pattern.

Looking for Folkvang knitting kits? They’re at my Etsy store!

Easy Knitting

Last week, I brought my yarn and kits to a market, and took the chance to chat with lots of people.

~

Lots of people stopped by, some drifted by on their round of the entire market, others stopped to chat.

There were two things that most people told me. The first one: they really liked my colors, and didn’t need to be told that I only use natural dyes. And I completely agree! These colors basically shout that they are natural:

My color circle – blue of course from indigo, purple from cochineal and indigo overdyeing, reds from madder, yellows from tansy, greens from indigo + plants, and dusty greens from whole leaf Japanese indigo.

The second one: people seemed to like my designs, but thought they were complicated. And well, I sort of knew that. I use techniques like provisional cast ons, grafting and so on, because it gives better results. I insist that these results are better, but I do understand that many people find such techniques difficult, or think they are.

So here’s my resolution. I will write easier knitting patterns. I’m reworking my Vindauga Baby pattern, making a version that only uses standard knitting techniques. I’m going to keep the picot edge, that one is easy, and very decorative. My plan is to release the pattern again, this time with an easy and a challenging option.

Purple, easy Vindauga Baby blanket.

Finally, I’ve deployed my secret weapon. My Mom! She dug through all my yarn, and found this:

Fenris dyed with indigo (left), with indigo and cochineal (middle), and Norne dyed with whole leaf Japanese indigo (right).

To begin with, she has her hands on the blue-green skein of Norne (that sort of had my name on it). Her plan is simple, geometric garter lace, it’ll be interesting to follow the progress.

Knitting Better Stripes

Knitting stripes is so addictive. Here’s a simple technique to make the color change from one stripe to the next smoother when knitting in the round

~

I’m working on the design for a girl’s dress in multicolor stripes. It has a turned picot edge and it’s knit top-down. The first prototype is knit in Fenris (100% wool, 450 m / 100 g or 492 yd / 3.53 oz) dyed with madder, indigo, woad, Japanese indigo, and a series of purples from cochineal overdyed with indigo.

Dagmar running over a harvested field on one of the last days of summer.
The dress has a round yoke and turned picot edges along neck, arm, and lower hem. Notice the cluster of trees in the left side of the photo – a burial mount from antiquity.

In order to make the color change from one stripe to the next as nice as possible (even though it’s on the back), I used this technique:

After changing to a new color, first knit an entire round, then remove the end-of-round marker.

The first stitch that was knit with the new color is now the right-most stitch on the left needle – the stitch you were just about to knit. Insert the left needle through the stitch right under it from the right side. Don’t let go of the stitch that was already on the needle. You now have two stitches instead of one, and they are not the same color:

Two stitches together, different colors because they come from two different stripes.

Now, knit the two stitches together (with a k2tog) and replace the end-of-round marker. The change of round has now moved one stitch to the left, but that is OK.

The two stitches knit together, and the marker replaced.

The result is this:

The yoke of the dress with jogless stripes.

Not perfect, but a huge improvement over just cutting the old yarn and adding the new.

Læs dette indlæg på dansk

Brisingamen

I’ve fussed over this design for a long time. I’ve knit it 3 times, and I’ve had a small army of knitters test the pattern. Now, I’m finally ready to release it!

Brisingamen lined hat – photographs by Lars Bjertrup, Wendy Colding, and yours truly.

The Brisingamen hat is lined all over, and has a design that fell into place when many little pieces came together.

The yarn, for one thing. I’ve long dyed on the Norne base, a single ply pure wool yarn (700 yd / 3.53 oz). It has a very slight stiffness that makes it perfect for lace knitting. I hate knitting lace with very tiny, slippery, unmanageable yarn. Lots of such fine and expensive yarns exist, and people knit huge shawls out of it, it’s just not my cup of tea… The only problem is that Norne is not a very soft yarn.

The solution: knitting only the outside in Norne. Lace is (yea, that goes without saying) full of holes, so the lining solves two problems: it makes the hat warm, and the inside soft. The lining is knit using a new yarn I recently started dyeing: Bestla, a 65% merino and 35% silk mix (656 yd / 3.53 oz). It is amazingly soft. I’m very sensitive to itchy wool, and I find it very soft.

Another big part is the lace pattern. The overall pattern repeat came from a Japanese stitch library, but I fiddled a lot with it.

The first prototype, knit in white, turned out child-sized:

Dagmar wearing the first Brisingamen hat. She’s 7, so even with her thick hair, her head is smaller than an adult’s.

The final version has cables between the large lace motifs:

The Brisingamen hat in madder dyed yarn. Photo by Lars Bjertrup.

The large motifs gradually transition into smaller forms, and end in a rosette of small cables:

The crown decreases.

Finally, there’s the construction of the lining. Care should always be taken when claiming you’ve invented something new, but I have never seen other patterns that use this construction. I started with two provisional cast ons. After knitting a bit, they are knit together. Now, the brim is knit from one set of stitches, and from there, the outside of the hat. Later, the other set of stitches is used to knit the lining.

The lining, soft and seamless.

The result is a hat with double fabric everywhere. Lightweight, but warm, and above all else, soft inside. It will be too much if I toot my own horn any more now, but I really am happy about this design.

You can buy the pattern on Ravelry or have a look at the naturally dyed knitting kits in my Etsy shop.

Læs dette indlæg på dansk

Green Variations

One of the great things about natural dyeing is that you can keep overdyeing until you get the color you want.

~

I recently dug out some green skeins of Norne that were not exactly what I had imagined, and had been sitting in the storage basket for a while. I decided to overdye them to get as many greens as possible. So I wound skeins for dyeing and kept the last part of the skein the way it was.

One skein (skein 1 in photo below) was a medium blue from indigo overdyed with a couple of afterbaths from pomegranate and weld. They gave a rather weak yellow, too weak to match the blue tone, resulting in a quite anemic green.

Another skein (skein 12) had the same problem. Again, a medium indigo blue, this time over dried mugwort dye. I didn’t know at the time I dyed this (as I do now) that dried mugwort only gives a rater weak beige.

Then there was a skein with the opposite problem (skein 5). It’s dyed with a strong (1:1) weld and overdyed with weak indigo, giving a green/Chartreuse that’s just too intense.

Finally, there’s a skein that was actually a good color (skein 9) but I just didn’t have any plans for it. I dyed it long ago with tansy and a madder afterbath to achieve a warm yellow. I wound all the skeins into smaller ones and overdyed them with indigo, weld, and walnut hulls.

Overdyeing and then some more overdyeing, to get as many greens as possible.

Skeins 6, 7, and 8 come from skein 5 and are just overdyed with stronger and stronger indigo, and there’s no surprises there. The strong yellow base ends up as a clear forest green when the indigo component becomes large enough.

Skeins 10 and 11 are yarn from skein 9 overdyed with a bit of indigo and a bit more. Here, skein 10 was a nice surprise, a wilted green, one of my favorite shades of green. I suppose I am really revealing myself as totally ignorant of color theory, but I did not know that this type of green contains such a large proportion of red.

I made a dye bath with 12 g of weld and dyed 25 g of yarn from skein 1 in it. That turned into skein 2 – not a surprise that the forest green emerges when you lift the level of yellow to match the blue in intensity.

Then I made a dye bath with 25 g of walnut hulls. 25 g of yarn from skein 12 turned into skein 13. Again, the ignorant dyer was surprised – turns out army green is based on brown. The afterbath turned yarn from skein 1 into skein 3, another army green.

Skein 4 is yarn from skein 1, overdyed with a rather intense indigo. Here, the weak yellow base gives a really nice teal. Skein 14 is yarn from skein 12 just overdyed with a bit more indigo than it already was.

Finally, there’s skein 15. The yarn comes from skein 12, and was first dyed in the weld afterbath. It didn’t change much, so I dyed it in the walnut hull bath, which had already been used twice. Again, not much change, so I dipped it in indigo. That still didn’t change much so I left it because I ran out of ideas.

Skein 16 and 17 are both dyed with stinging nettle, said to contain a green dye. In the middle of May, I picked a big dyepot full (and they have no problem stinging through thick garden gloves) and dyed two 25-gram skeins. First skein 16, then skein 17 in the afterbath, followed by modification with a bit of iron. None of the skeins 16 and 17 are green but they work really well along all the other greens. Here they all are, along with an indigo-dyed skein, wound in cakes and ready to knit:

All the green yarn cakes, ready to knit.

I am experimenting with knitting very short scraps of all these colors together, more about that another time. So far, it looks like this:

Norne cut in short scraps and knit – color changes by doubling both the new and the old yarn.

But the search for greens doesn’t stop here. In addition to stinging nettles, May is also full of landscapes covered by wild chervil and broom.

I tried dyeing with common broom last year, but picked the plant too late in the season and got very little color out of it. In their “Dye Plants and Dyeing”, Cannon & Cannon write that flowering stems of broom should be harvested in April or early May. I managed to pick them late in May, which is probably fine since the book is English and most of England is south of Denmark.

On alum mordanted Fenris (pure wool), common broom gives me the greenish-beige that Cannon & Cannon promise. They show an almost black with copper, so I tried modifying with copper water for a few minutes. I have a jar that contains the innards from an old wire in household ammonia, and I just added a bit of it. This gave a very pretty green, which is leaning towards brown.

Wild chervil (also picked in late May) gave the expected fragile yellow with a touch of green. To some eyes nothing special, and for sure, there are many ways to get such tones. But I do find it lovely, it just captures the freshness of spring and early summer. Modified with iron, the color darkens and completely looses the freshness.

Yellow and greens dyed with common broom and wild chervil. The large skein on top is dyed with wild chervil, the one below the same but modified with iron. The third skein is dyed with common broom, the fourth common broom and copper.

A Herd of Hats

What’s the collective noun for hats? “Herd”? “Flock”? “Mob”? “Head”? Or, in my case, “parliament”, or even “pandemonium” may even soon be appropriate. I can’t seem to stop knitting them.

~

I’ve been working on two new designs for hats, a lacy one that leapt out at me from a Japanese pattern dictionary, and one in stranded knitting that came about by swatching. Yes, swatching.

Brisingamen is inspired by a Japanese pattern, and knit in two layers all over. The entire inside is knit in Bestla, a 35/65 mix of silk and merino, the entire outside is Norne, my 1-ply pure wool lace yarn. It took a bit of hard thinking to come up with a way to line both the hem and the rest of the hat – in the end, I went with two provisional cast ons. That may sound incredibly complicated, but it’s really not. And the result really is excellent. Since the gauge is small, the double fabric is thin, but very warm, even when it’s windy.

Here’s Dagmar on a snowy day a while ago, wearing the first prototype, knit in undyed yarn. It turned out too small for me, but fits her just perfectly.

Dagmar happily wearing the Brisingamen prototype.

For the final version, I only had to do small recalculations. A triple cable replaces the single line of twisted stitches between motifs, and the rib is longer. Here it is, almost done, in yarn dyed with 1:1 madder. I’ve dyed with madder on pure wool so many times, and still love how it takes the color. Silk merino takes the same dye in a slightly different, no less delicious, way. Perhaps it is the silk sheen that alters the look just slightly.

Brisingamen hat, the outer layer is pure wool, the inner silk-merino. Both dyed with madder root.

Folkvang is a tam that was inspired by Bohus patterns. Since I first read about Bohus patterns, I’ve wanted to make something using them as a starting point.

I started swatching to try patterns out. In the beginning, I wanted an arched pattern, so that’s how the swatch starts out (right side). But the arch didn’t behave, and I realized that you would have to work 3 colors in one row to make an arch that separates areas with two different background colors. I hate knitting 3 colors at a time, so I continued the swatch with rectangular shapes.

First, a white rectangle on a blue and green background. It’s OK, but the purl stitches on the long edges don’t add anything. Next, a blue rectangle on beige background. Purl stitches inside the rectangle add texture that makes the pattern more interesting. Now, I was on to something. I changed to white background, kept the dark indigo blue as the contrast color, and added in a bright green band of background color. I was getting close, and was finally happy with the pattern when I let the white background peek into the purled inside of the rectangle, and softened the bright green with a bit of beige.

The Folkvang swatch. White background with contrast colors blue (indigo), dark green (tansy and indigo), beige (velvet pax 2. bath), and bright green (reed flowers).

The vertical lines of blue purl stitches just beg to be lined up with purl stitches of a corrugated ribbing, so that’s what I did:

The Folkvang tam, flying off the needles.

The hem is lined with silk-merino. The outer part is knit in Fenris, which is excellent for color knitting, but really not that soft.

In order not to break up the corrugated ribbing when progressing from the hem to the main body of the hat, I used a new (I think?) way of closing the hem in color knitting.

In the photo below, you see the corrugated ribbing in front. The provisional cast on is undone, and the live stitches put on a needle, sitting behind the work. Now, holding the yarns appropriately for color knitting (blue is my dominant color, so it’s towards the left because I knit continental), I purl the purl stitch with blue, then knit together 3 white stitches with white, one from the front needle and two from the back. This leaves the purl columns unbroken, very satisfying to the obsessive knitter.

Closing the hem in color knitting.

Vindauga Baby

The design theme from my Vindauga Blanket just stayed in my brain after I knit the first one, demanding to be knit in more variations! And when that design theme met with my experiments in 2-dimensional gradients (or matrices), the result was the Vindauga Baby Blanket, which I’ve finally managed to publish the pattern for.

You can buy the Vindauga Baby Blanket pattern on Ravelry. I’ve also dyed a small number of kits, you can find them at my Etsy shop. The colorways are purple-blue (dyed with cochineal and indigo – sold out), red-blue (dyed with madder and indigo) and green-blue (dyed with weld, mugwort, and indigo).

From a set of 9 skeins of matrix-dyed yarn (on the left) to the Vindauga baby blanket.

I’ve now written the pattern, had it test knit, and corrected over and over again. It’s finished, and now published in Danish and English. I’ll be the first to admit that actually finishing a pattern is not my favorite part of the process from idea to pattern. But if I don’t pull myself together at some point, then my ideas end up as just that – ideas in my head.

But dyeing the matrix mini skeins is a lot of fun. I’ve worked with these 2-dimensional gradients for some time now, but it’s still difficult to get them just exactly right!

First, I dye gradients of red, pink, or red with madder, cochineal, weld, tansy, or mugwort. I make 3 skeins of each. Then, I overdye with an indigo gradient, giving each of the 3 identical skeins a different indigo overdye. This may not sound difficult, but both steps are hard to control.

When dyeing with cochineal and madder, I find that the first bath always gives a more intense color than the second one. But sometimes, the second and third give about the same. It’s also difficult to control the exact shade of blue with indigo dyeing. One factor is how long you dip skeins in indigo, another factor is the number of dips. But the amount of available indigo in the vat also changes over time. Even after making many sets of matrix dyed skeins, it’s still a challenge!

indigo overdye
Yellow, red, and white skeins soaking on the left. On the right, similar skeins in an indigo bath. The temperature is 52 degrees, pH is 9-10. Everything is under control!

See projects on Ravelry:

Vindauga Baby, the Picot Edging

I finished my Vindauga baby blanket, and it turned out just the way I’d imagined it.

VBCollage

In order to break the clean lines a bit, and make the blanket more baby-ish, I decided to use a picot cast-off  instead of the usual one. But it turned out to be a problem to find one that could be used for garter knitting. Not too many picots, and definitely not frilly.

After quite some attempts, I ended up finding a combination that is discreetly picot’ed and lets the edge lay flat. I did it by repeating these steps:

  • cast on 1 stitch using knitted cast on
  • cast off 4 stitches the usual way
  • put the last stitch back on your left needle

This may sound complicated, but it’s actually really easy to do. Here is a video showing one repeat of the picot cast off:

The advantage of the picot cast off is that it’s elastic because of the extra cast on stitches.

PS: I’m looking for test knitters for the Vindauga Baby blanket. So drop me a line or comment on this page if you’re interested!

picotedge

Save