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!

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.

Late Summer Greens

This summer, I’ve dyed a nice pile of green wool using reed flowers and velvet pax – two dyestuffs that are a highlight of the dyer’s year. Reed flowers because they give such an electric green. You have to admit it’s a bit strange that these red flowers dye wool a wild green, but only if you get them into the dye pot absolutely fresh. If the flowers have opened or are not freshly picked, they will only give yellow. Velvet pax because its dusty greens are so lightfast. The two skeins in the back are dyed with velvet pax, the three in the front with reed flowers.

grøn green
Greens from reed flowers and velvet pax, the essence of late summer dyeing.

I’m becoming better at finding velvet pax. The first couple of years, I looked for it too late in the season. This year, I’ve found it growing several places, for example this archetypical plantation, where Dagmar is picking a big one. Just the kind of place that velvet pax likes to grow.

Dagmarplukker
Dagmar picking velvet pax (with the arm that’s not broken).

Velvet pax can be found in August, and this year, everything was early, so it was there at the beginning of August. And the mushrooms were huge – I found some that were 25 cm across.

sortfiltet
Characteristic brown tops of velvet pax, captured in a typical habitat.

Big, fat spiders are another joy of late summer. This one, which is possibly the fattest spider I’ve ever seen, lives outside our house. When I was sticking my camera right in its face, the neighbor’s big dogs started barking. Immediately, the spider lifted its front legs as if to attack. I chose to run away, so I only got a good shot from underneath the spider, where its pattern looks a bit like eyes. I think it’s a very light colored cross spider, since its body is pointy at the back. After reading that they can bite if provoked, I think my decision to flee was not a bad one.

edderkop
My pet spider.

Summer is also the time of year to test light-fastness. I tested a handful of colors on the windowsill from early July to mid August, and their light-fastness was quite different.

  1. Old polypores, the two top ones warm baths and the lower one a cold bath that brewed outside for some weeks. None of these yellow browns are very light-fast.
  2. Velvet pax, the color didn’t change. I’ve seen this light-fastness in previous test, so it really is that good!
  3. Orange Cortinarius mushrooms, I don’t know which species. Not that light-fast
  4. A matrix of madder and indigo, showing that saturated colors are much more light-fast than pastels
  5. Sorrel root, not very light-fast
  6. Birch leaves. Surprisingly light-fast
  7. Weld. Surprised by the fact that it’s less light-fast than number 6…
  8. Henna on alpaca. I’d say this is a medium light-fastness
  9. Calendula flowers. Surprisingly light-fast
Light testing summer 2016.

I’ve also dyed with tansy, which doesn’t give green, but “just” yellow on alum mordanted wool (no pictures of that). But when I admired the flowers, I suddenly wanted to check if they really do stick to Fibonacci numbers.

The Fibonacci series begins with two ones, and then the next numbers are found by adding the two previous ones:

1, 1, 2, 3, 5, 8, 13, 21, 34, 55, etc.

The last time I thought about Fibonacci numbers were for calculating the numbers of my Vindauga blanket where rectangles obey the golden ratio, approximated by the ratio between neighboring numbers in the Fibonacci series, eg. 55/34 = 1.61.

Below is a close-up of a tansy flower. And as promised, the numbers of rows of tiny buds are Fibonacci numbers – 13 clockwise rows and 21 counter-clockwise.

DSC_2985
Tansy flower obeying Fibonacci’s sequence.

Hados for Everyone

We recently had a heatwave here in Denmark, so the need arose for a project where you don’t have a huge pile of wool on your lap. I ended up knitting Hado by Olga Buraya-Kefelian, and it was so much fun that I knit three of them. The upper one in yellow/green is wool dyed with reed flowers and velvet pax. On the lower left, one with two tones of blue from woad and ordinary tropical (bought) indigo. In the hat on the lower right, woad is accompanied by orange wool, dyed with orange mushrooms of the Cortinarius family.

hado4
If you knit enough of these hats and put them next to each other, they will look like candy.

The picture below shows the different length of the hats. The blue/orange one has 1.5 pattern repeats, the blue/blue one 2, and the yellow/green one 2.5 repeats. But the picture also shows something else, very visibly. All the hats are knit with the same white background, so you can easily tell that the orange color came off.

Last year, when my daughter found these orange mushrooms for me, I was just excited about the huge amount of dye in them. But that color turns out not to be wash fast. So I’m calling this one a failure, although I admit that I would pick these mushrooms again if I found the, so I could experiment some more.

hado_bunke
My hats have different sizes. Try not to notice how the orange mushroom color bled only the white!

The top of the hat as knit in the pattern disturbed my eye, so I had to modify it. I kept knitting the pattern to the top, but omitting the yo’s.

hado2
I modified the crown to visually fit with the main pattern.

Vindauga Blanket

My big blanket made of test skeins is done – I’m so happy with the way it turned out!! Here is the entire blanket. I know you can’t tell from such a photo, but it’s quite large, 96 x 150 cm (38 x 59 inches).

 

finished

And a couple of closer views. I took lots of pictures of it because I’m really very happy with it (I’m actually wrapped in it as I write these words).

finished3

folded

I knit my blanket out of all my 10 g test skeins that I use for trying out new dyestuffs and for trying out different variations. The yarn is supersoft wool (575 m/100 g) knit double on a 4.5 mm needle. The skeins were dyed with:

  • Cortinarius semisanguineus
  • Privet berries
  • Mixed Cortinarius mushrooms
  • Dyer’s polypore
  • Earthballs
  • Velvet pax
  • Ischnoderma benzoinum
  • Fern
  • Fermented avocado pits and peels
  • Tansy flowers
  • Apple leaves
  • Reed flowers
  • Coreopsis
  • Logwood
  • Madder
  • Indigo

I used about 9 grams of yarn for each window, and about 200 grams of white yarn for the window frames and edge.

Vindauga (meaning wind-eye) is the Old Norse word for window. I chose that name for my blanket because it consists of windows of different natural colors.

I knit my blanket in an incredibly complicated way, but now I’ve reduced my notes to a set of instructions that are rather simple with one exception: you need to graft rather long stretches together. Some find grafting complicated. It’s true that it seems complicated when you first learn it, but I find the technique indispensable for nice finishing.

Strips, make 8

Provisionally cast on 32 sts. Lefties can see my tutorial, right-handed people can watch this video.

Knit 19 ridges of garter stitch with one color. This will give you a rectangle that (more or less) has the golden proportion, which pleases the eye. My rectangles measure about 10 x 17 cm (4 x 6.75 inches).

Using a back join, change to white yarn and knit 3 ridges (the window frame).

Change to a new color (back join again) and knit 19 ridges.

Continue knitting 3 white and 19 color ridges until you have 8 windows of 19 ridges each, separated by 7 white window frames of 3 ridges each. Put the stitches on a piece of scrap yarn and save them for later.

onestrip

Grafting Strips Together

When you have knit 8 strips, you will graft them together (or you can begin grafting as soon as you’ve finished 2 strips). Here is how to graft one strip (A) onto a larger piece that has already been put together (B). A is on top in this picture and B on the bottom. The provisional cast on of each strip is on the left.

grafting1

Begin with strip A. Begin picking up stitches in the corner closest to the provisional cast on (yellow rectangle marked with a safety pin) and pick up one stitch in each garter bump (finishing at the blue rectangle).

Pass the last stitch you pick up over the next to last (1 stitch decreased).

Turn the work and knit all the stitches. In the last stitch, work a kfb (1 stitch increased). The reason for decreasing and increasing is to shift things slightly so the window frames line up. Cut yarn and secure the end.

Now, it’s strip B. Begin picking up stitches in the corner furthest away from the provisional cast on (yellow rectangle with safety pin). Pick up one stitch in each garter bump all the way, ending at the purple rectangle.

Knit 2 rows and cut yarn, leaving a 4 m long tail (you will use it for grafting).

grafting2

Now comes the difficult part. Here are the A and B pieces oriented in the same way as above, just seen closer. The long tail is attached to the purple rectangle (strip B).

grafting3

Turn the B piece so it has the wrong side up. Put the A piece on top, with the right side up. Now, the pieces are positioned correctly to start grafting, the bumps of the garter stitches are facing upwards on both pieces.

grafting4

First, sew purlwise into the first stitch on the top (yellow) piece. Pull yarn through, leaving the stitch on the needle.

Then, sew purlwise into the first stitch on the bottom (purple) piece. Pull yarn through, leaving the stitch on the needle.

Now, start working the two steps that you will repeat the rest of the way:

Sew knitwise into the first stitch on the top piece, letting the stitch fall off the needle. Sew purlwise into the next stitch, leaving it on the needle,

Sew knitwise into the first stitch on the bottom piece, letting the stitch fall off the needle. Sew purlwise into the next stitch, leaving it on the needle.

You can also see this picture tutorial.

I just graft loosely to begin with, focusing on passing through the stitches the right way. Then, I tighten up the stitches so this:

grafting5

becomes this:

grafting6

When you reach the end, and only have one stitch left on each needle, you just sew knitwise into each of them.

Graft all 8 strips together in the same way.

Edge

Now, it’s time to knit on the edge. It’s very long indeed, so I used my interchangeable needles with two cables put together.

Begin at a corner and pick up stitches all the way around the blanket, one stitch in each garter bump. Make increases at the corners, before and after the corner, also on the round where you pick up the stitches. So: when 1 stitch remains before a corner, m1r (increase by picking up the thread that links the stitches, from the back). Knit 2 stitches, then m1l (increase by picking up the thread that links the stitches, from the front)

Purl one round, then knit a round with increases at the corners. Continue like that until you have 4 ridges of garter, ending with a purl round.

knitedge

Cast off: I used Jeny’s stretchy bind off all the way around the blanket, and that worked nicely. I did corner increases on the bind off round, because tight corners are the worst. This way of doing them gives them a nice, relaxed appearance.

corner

That’s it! If anybody out there tries out this pattern, I’d love to see pictures of your FO.

You can obviously change the yarn and needle size, stitch count, number of strips you put together, width of the strips and of the frame….

Reed Flowers

lakereeds

Reed flowers are in season! I took the photo above on a beautiful August day at the lake. The sound of the wind through the reeds is positively mind-cleansing, which apparently I’m not the only one to think, judging by the number of YouTube videos of just that phenomenon. So now you too can enjoy it, even if you are in a skyscraper somewhere:

But I can promise you there was nothing mind-cleansing about my search for this dyestuff. They often grow a little bit out into the water, in places that are a bit hard to reach. I found a good patch of them growing in shallow water, I just had to cross a small forest. It looked fine, but it was actually a bottomless swamp, which I sank into to mid-thigh. Afterwards, I was a bit shocked, but otherwise fine! And I picked about 100 g of the silky soft, discreetly burgundy colored flowers: reedflowers

I rushed them to the dye pot – you have to use them fresh – and this is what I got on 20 g of supersoft in the first bath, 10 g in the second: first a lovely green, then a cold yellow:

reeddyedwool

FACTS – FRESH REED FLOWERS

Mordant 10% alun

Water Tap

Yarn Supersoft 575 m/100 g

Yarn:Dyestuff ratio 5:1 in first bath, 10:1 in second

Conclusion I love this green color, it’s beautiful and has a good light-fastness

Possible improvements The only one I can really think of is, that reeds should spontaneously grow in places that are easier to reach for the natural dyer

Last summer, I collected reed flowers while on holiday, and brought them home with me. I didn’t know that you have to put them fresh into the dye pot. The results were pleasing enough, although more towards yellow than green.

I have knit with the reed flower dyed wool from last year, and used the remaining scraps for light testing. These were on the windowsill for about a month from mid July to mid August. With this daylight calculator and a simple spreadsheet, I find that the samples for the 1st, 2nd, and 3rd bath of 2014 reed flowers got 572, 497, and 481 hours of daylight, respectively (since they spent the intervals 9/7-15/8, 10/7-11/8, and 11/7-11/8 on the windowsill). This is what they look like afterwards: the left side of each card has been covered, and the right side exposed:

reedflowerslighttest

A very good result indeed. You can tell that the paper has yellowed slightly from the exposure, but the yarn has only changed very slightly. The change is towards the yellow, so the green component seems to fade, but the color intensity is quite unchanged.

Gradient Hat

I’m in hat knitting mode right now! As soon as this hat was finished, I had the next one on the needles. The pattern, a Danish one called “hue 1” (that just means hat 1, the book has more than one hat) really makes my brain go berserk with color scheme after color scheme.

hatfromside

I’ve cheated a bit since I didn’t only use naturally dyed yarns for this project: the black background consists of different commercial yarns from my stash.

FACTS – GRADIENT HAT
Pattern hat 1 by Lone Gissel and Tine Rousing, Nordiske masker
Yarn Supersoft 100% wool 575 m/100 g (plus some commercial stuff)
Needle 4.5 mm
Colors Privet berries (from our garden, winter) Indigo + tansy (bought + collected from the roadside, summer) Reed flowers on grey yarn (collected from the seaside, summer) Yarrow (collected from the roadside, summer) Mixed lichens (collected in the forest – this was bits and pieces I couldn’t type and in the end just swept into the dye pot) Parmelia sulcata (a lichen, collected in the forest) Dyer’s polypore (Phaeolus schweinitzii) (a mushroom, collected in the forest, fall).
Conclusion Love it! The colors, the fit, the fox fur
hatalone
It’s often been said that any naturally dyed colors fit together, and I do think that is the case. I did take some care lining up colors that blended well one into the other, but they were not very hard to find in my big basket.
Another observation: I think natural dyeing is the best kind of yarn tourism. When I look at the hat and its colors, I’m immediately taken back to the places where I collected the dye stuffs.Well, not so much the privet berries from our garden, but other wonderful places we walked during the nicest months of 2014.Just one example. The reed flowers are from our august summer vacation in the southern part of Denmark, right on the border with Germany. I picked my flowers by the ocean, and I just had some fun trying to find the exact spot on the map. And I did it! The exact coordinates are 54.894576, 9.626491, and you can even see the mass of reed growing there when you use the max zoom of the map… Right next to a tiny harbor where you can stand on the planks and watch crabs hurrying around on the bottom. And when you look over the water, you can see Germany. Imagine, all that worn on a hat in the form of a stripe of yellow-green yarn!
Mønsteret til hatten er er fra Nordiske Masker af Lone Gissel og Tine Rousing, og det mønster bliver ved med at køre rundt i mit hovede i forskellige farvekombinationer! Her har jeg strikket den på en sort baggrund som er fabriksgarn, jeg havde liggende. Regnbuen fra grøn til varm gul er mine egne naturfarvede nøgler.

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