While I am still struggling with the release of The Second Carolingian Modelbook at an affordable price point, other doodling has not ceased. I took a look at my notebooks and decided that enough had piled up to make a sequel to my free book of linear designs. And so I present Ensamplario Atlantio II.
This one contains over 225 designs. Most are for the filling patterns used for inhabited blackwork (the outlines plus fillings style pictured on the cover), or for all-over patterning:
Some sport small motifs that can be scattered either at the represented or wider spacing:
Others can be repeated to make strips or borders:
And some are just silly:
There are also longer repeats specifically meant to be borders
Finally, there are two yokes meant for collar openings, but if I tease everything here there will be nothing left.
Click to download –> Ensamplario-Atlantio-II <–
in PDF format (9 MB)
Although Ensamplario Atlantio II is free, I beg you to respect my author’s rights. These designs are intended for individual, non-commercial use. Please do not repost the book or its constituent pages elsewhere. If you want to use its designs in a piece or a pattern you intend to sell, please contact me for licensing. Other than that, please have fun with them.
And (hint, hint) I ALWAYS like to see the mischief the pattern children attempt out there in the wild world. Feel free to send a photo of anything you make from any of my designs. If you give permission, I’ll post it here, too.
I’ve long struggled with how to render a heraldic rose in a linear charting. Because of the angles involved in five-fold symmetry, it does not lend itself cleanly to the 45°, 90°, 180° schema that I have found to be almost exclusively used in historical counted styles. (In fact, the only exception to the 45-90-180 rule I’ve seen are designs that include an “eyelet” – where stitches are taken around the periphery of a small area, with one terminus in that circle or square’s center – and those are quite rare.) To manage the angles properly under this constraint would necessitate a very large chart, so that the angles could be fudged slowly over long runs.
But many people over the years have asked about a SMALL graphed-up rose. And just this week I had an extra incentive to work one up.
Duchess Kiena of the East Kingdom (an SCA branch centered on the upper northeast coastal region of the US, and into adjacent areas of Canada) has been doodling up roses as visual gifts/potential ornamental badges for her fellow members of the Order of the Rose (former consorts/co-regnants of those who have won the Eastern Crown.) Her roses are a joy – simple and adorable. Here’s the one she did for me – echoic of my own black rose:
She’s done an entire garden of these so far. They are sweet, and have been adopted by some the recipients for use as avatars on social media. I wanted to return a gift in kind. I also know that some folks may want to embroider these roses, either for themselves or as a gift, so I doodled up a graph based on Kiena’s original outlines.
Note that it includes non-standard “Knights Move” stitches, taken over 2 x 1 units. I’ve marked those in red as an aid to navigation. Not strictly historical, I know, but effective at this small scale.
Feel free to use this as you will. Fills are limited only by your own imagination – the counted/damask fills of blackwork, satin stitch, split stitch or chain, applique, beading – anything goes. Enjoy, and feel free to share your results.
Another in my occasional series of posts only a stitching nerd will love.
This base design I present here is among the patterns that have long fascinated me. It comes from a time of political and religious conflict, and exists in two versions – one with a devotional inscription, and one plain – with the motto removed.
It’s pretty widespread as pattern books go, appearing in several. There is also at least one actual stitched artifact of it in one of its variants
First, to look at the pattern as (and where) it was published.
All three modelbook pages of this first group are quoted from Mistress Kathryn Goodwyn’s most excellent Flowers of the Needle collection of modelbook redactions. It’s pretty obvious that the 1537 Zoppino (Venice) and 1567 Ostaeus (Rome) versions were both printed from the same block – the same pattern errors exist on both impressions.
Now for the third – this one was published in 1546, in a book attributed to Domenico daSera, who worked in Lyons, France.
It’s clearly the same design, but carved anew into a different block. The framing mechanism of the twisted columns and chains remains, as does the frondy onion-shaped center motif and the majority of its details. More or less. Obviously the religious motif is new, as is the inclusion of more prominent crosses. But the design is still recognizable.
Going back and forth in time, here’s that same Zoppino block, from his Convivo delle Belle Donne, from August 1532, courtesy of the Metropolitan Museum of Art (Accession 22.66.6) This is the earliest hard-dated rendition of this design that I know of.
It’s also interesting to note that the same block was collected into Hippolyte Cocheris’ 1872 collection Patrons de Broderie et de lingerie du XVIe Siecle which is itself a reprint of several 16th century works. I suspect that a different block may have been involved, because although the copy is almost perfect there are minute mistakes on the Zoppino original that are not replicated in this iteration.
And on to artifacts.
First, here is a clear rendition of the da Sera devotional version. The picture below is shamelessly lifted from the Harvard Art Museum’s holdings page, of their object accession number 1916.379, cited as Italian, but not dated.
Note that the inscriptions switch direction, and not necessarily in a logical manner. I strongly suspect that the stitching is truly double-sided, and the intent was to produce something that could be read from both sides. Either that or the embroiderer was quite forgetful, and neglected to keep track of the front and back. Once the error was established, he or she just kept going.
As an aside, the edging is from Jean Troveon’s 1533 work, Patrons de diverse manieres. It’s also in his other work, La fleur des patrons de lingerie (dated 1533 at the latest) , which we will see again in a moment.
Headed a bit further afield is this example is a first cousin of the design above. The sample below is from the Boston Museum of Fine Arts. It’s got many of the same design elements, but they’ve been simplified and abstracted. We’ve lost the twisty columns, but kept the chain dividers, and the center foliage/flower has been much simplified. This piece is dated to the 16th century, as Italian. MFA Accession 90.50. It’s one of the pieces labeled with the mystery technique “Punto di Milano” which in this case looks like tightly overstitched Italian four-sided stitch, pulled to achieve a meshy look. Oh, with cross stitch accents.
But did someone take the twisty columns design and adapt it? Nope.
Troveon, in La fleur des patrons de lingerie has this one, with the minor exception of using initials in the shields instead of the anonymous sunbursts.
And what else shall we find in Troveon’s soft-dated work? Our old friend, (which based on a close look at block mistakes, I can’t for certain cite as the Hippolyte source.)
Now. We have a few questions.
- How did the border design that appears only a few pages away from the secular version of this design, in the Troveon book get paired with the devotional main motif from daSera?
- Which plate came first? Troveon’s not-dated-in-stone version (1533 latest), or the Zoppino from 1532? Are they printed from the same block or not?
- Why did the design exist and circulate in the two forms?
The places where the secular version appears (Rome, and Venice) were not break-away hotbeds of Protestantism. I would have thought given the tenor of the times (which included the destruction of vast amounts of religious embroidery) the secular version would have been found in the religiously rebellious areas. When I started looking into this my suspicion was that having two versions of this design was an early example of targeted marketing – selling what would appeal to a local demographic. But I can’t substantiate that theory based on place of publication.
The relative order of publication? Again, I can’t hazard a guess. Unless the Bibliothèque Nationale de France refines its listing (or another hard-dated copy of the work surfaces) we are stuck with the uncertainty.
So your guesses are as good as mine. Yet more topics I offer up to anyone doing gradate research in historical embroidery.
Oh. One final aside. Both the secular version of this design and the border from Troveon are graphed up in my first collection The New Carolingian Modelbook.
Back from the drawing board. I plan to try this version out tonight. (Quick and dirty plot, not neatened up for general consumption).
You can see how it is wider, more open, and looser than the last version, below
Both are original compositions, incorporating and adapting motif bits from the main design, but they have very different movement and feeling.
My fellow bungee-jump stitchers, note that I also decided that aside from centering the companion border’s repeat on the midpoint of the established work, I am totally unconcerned with how the longitudinal counts of the two interact. This border will not end “neatly” at a corner. I will have to improvise something on the fly when I get there, so Off-the-Cuff Design Fun hasn’t officially ended yet.
I can sense the rising collective gasps of horror from the mass of people who prefer the entire project to be complete and neatly charted prior to being worked on a basted, gridded ground. I understand you and respect your ways, but I enjoy the frisson of danger inherent in my method, and accept that picking out is always a a looming possibility.
And for those of you who want to know what I’m using to create these, here’s a link to my tutorial series for using the free drafting program GIMP to set up and work charted designs. I’m afraid that due to the vagaries of blogging software indexing, the lessons are in reverse order. Go all the way to the bottom of the page, and start with the entry,
Stay tuned for results of this experiment. At the worst, it’s picking out, and back to the drawing board. Again.
Its a keeper!
Now on to finish out the leftmost repeat, add the one on the right, and add the now-established edging. Also to noodle out how to treat the corners… Adventures in needlework, for sure!
UPDATE: THE DOWNLOADABLE PDF PATTERN FOR CHANTERELLE HAS BEEN ADDED TO MY KNITTING PATTERNS PAGE, AT THE TAB ABOVE.
A bit more mindless knitting this week past. I have two balls of Zauberball Crazy, a wildly variegated (and expensive) fingering weight yarn. Both balls had minor damages to them, and I wanted to work them up quickly. But I didn’t want to make socks. This stuff’s colors are so over the top that I wanted to make something that would be seen. Scarves are ideal. I’ve done several before using Wingspan and its variants, or other designs calculated to display the gradients to their best effect. But I wanted to do something different. I cast on for a couple of designs I found on Ravelry, but wasn’t particularly pleased.
What to do….
Ah. Thinking back, my most popular pattern of all time is Kureopatora’s Snake. That was written for a DK weight variegated, and was the result of happy experiment. It’s basically Entrelac, but slimmed down to just the two edge triangles, and worked over a large number of stitches. The result is a graceful interlock of trumpet shapes, with the trumpet’s spread accentuated by working a purl into (not just slipping) the K2tog join stitch at the end of each partial row before the turn.
Why not make that one up in fingering weight, and publish the pattern adaptations that make it work?
So I present the first of the two test pieces. I’ll be starting the second tonight:
First off, I’ve renamed the thing. Now that it’s independent of the original yarn, I re-dub this one “Chanterelle.” Yes, there are ends (the initial cast-on, bind off, plus a couple of damages). A personal quirk – I don’t darn in the ends until I am ready to give my knit gift to the recipient. This will sit un-darned until then.
I will be writing up the full design again under the new name, but for now, start with the Kureopatora’s Snake pattern, available for free at the Knitting Patterns tab at the top of this page.
A FINGERING-WEIGHT VARIATION OF KUREOPATORA’S SNAKE
Grab your ball of fingering weight variegated yarn. ONE ball of Zauberball Crazy made this scarf, with only about 3 yards of yarn left over. It’s about 5 inches wide (a bit under 8 cm), and 66 inches long (a bit under 168 cm). Gauge is pretty much unimportant. I recommend a MUCH looser gauge than one would use for socks. I used a US #5 needle (3.5mm) for this project.
Follow the Kureopatora pattern as written for the initial section, but instead of stopping when you have 30 stitches on the needle, keep going until you have 46.
Work the entire scarf as-written, until you have completed ten full trumpet sections (not counting the partial trumpet done to initiate the project).
Follow the directions for the final finishing section, EXCEPT that instead of working the final section as normal until there are 15 stitches on each needle, keep going until you have 23 stitches on each needle. Then on every row that begins on the edge of the scarf after that, work a SSK instead of the increase you have been doing throughout the prior sections.
DO NOT STRETCH-BLOCK this piece. If you feel it’s lumpy, moisten it and pat it flat, but do not use wires or pins to stretch it out. You want to preserve those graceful curves.
Another post that only a stitching history nerd will love.
The last post explored some differences between modelbooks that looked like they featured the same patterns, but in fact were not printed from the same plate. This one looks at one of the most widely reprinted and well known modelbook authors – Johann Siebmacher, and three of his works, all available in on-line editions. All of the excerpts below are from these three sources:
- Schön Neues Modelbuch von allerley lustigen Mödeln naczunehen, zuwürcken unn zusticken, gemacht im Jar Ch. 1597, Nurmberg, 1597, – the source work for Mistress Kathryn Goodwyn’s Needlework Patterns from Renaissance Germany
- One reprinted in 1886 as Kreuzstich- Muster: 36 Tafeln des Ausgabe, 1604, that calls out Siebmacher as its author.
- One indexed simply as Newes Modelbuch with him as author, possibly 1611, but unclear from the source
Many of the designs in these books seem to repeat edition to edition. Some are unique to only one. Before we begin, it’s worth remembering that these books are survivals. Long use and reuse over decades have resulted in page loss. None of the editions are complete, as in “all intact in one original binding,” and some may have been re-composed at a later date from other partial works. But we do what we can with what we have, and Siebmacher’s editions have title pages in them, and distinctive numbering and framing conventions that can lead to a reasonable conclusion that they were from the same printing workshop.
All of the books show graphed designs suited for reproduction using several techniques, including various styles of voided work on the count, lacis (darned knotted net), and buratto (darned woven mesh). Twp of them also include patterns that would be suitable for other forms of lace. Over time these patterns went on to be executed in weaving, cross stitch, filet crochet, and knitting, too. The descendants of these designs ended up in multiple folk traditions and samplers on both sides of the Atlantic.
In addition to the longevity of their contents, Sibmachers books are among the earliest that seem to indicate execution of the design using more than one color or texture, a feature not common in the black-and-white printed early modelbooks. Here are examples the first two books. But I don’t think that these pages were originally printed two-tone. I think they were hand-colored to add the darker squares, either at the time of manufacture or later.
|1597||The possibly 1611 edition|
Obviously, the two samples above were printed from the same block. But the pattern of the darker squares is different, and if you look closely, the some of the solid squares looked colored in, as opposed to having been originally printed that way. I can say the retoucher who did the 1597 was a bit neater. I don’t think these were colored by the book buyer, because every single edition of Siebmacher’s works that I’ve seen have included multi-tone pages like this.
Here are other single- and multi-tone blocks that repeat between these two editions:
|1597||The possibly 1611 edition|
The brown ink on the G near the talon matches the color of the hand-drawn designs at the back of the book – post-publication additions.
The 1604 edition has similar pages that sport two-tone presentation:
But these books are not the same.
That 1604 edition… It’s curious that there are no blocks that are in the other two Siebmacher works that are also in the 1604 edition, yet all three books are clearly signed by him. And the majority of the block labels that show stitch counts for the repeat, or pattern height in units – they are curiously different between the 1604 and the others, too. But still, there evidence of style affinity across the works. Zeroing in on some specific pattern features:
A very familiar stag, that shows up on some of the earliest samplers, with descendants on American Colonial samplers, all the way up to pieces done in the 1800s.
Similar, yet not the same.
Here is a set that’s confounding. First the hippogriff and undine from 1604:
Compare the item above to these two designs – a winged triton and an undine, each from the 1597 work:
Even the geometrics are close but not duplicates
All this aside, even the seemingly close 1597 and possibly-1611 versions have significant differences between them, although they do have exact page duplicates between them. Not so with 1604 – it’s unique when closely compared to the other two, even though all three have the same author attribution, and very similar styles. This is VERY odd considering the vast amount of physical labor that had to go into producing these blocks.
So. What’s going on with the 1604 edition? Why is it so different from the other two? Has anyone read an academic work that examines this issue in more detail, or corroborates these findings with other editions that are not published on line?
So many patterns, so many questions, so little time to do in depth research.
Lately I’ve seen a couple of resources for embroiderers who wish to make samplers or other stitchings to honor friends or family who are differently-abled. I post them here for general reference.
First is this alphabet from type designer Kosuke Takahashi. It takes a linear construction alphabet, and overlays Braille dots on it, to form a construction that can be read by those familiar with both type forms.
A full description, and downloadable files for the font can be found here. Note that it is free for personal use. If you want to compose an item or design for sale, you would need to contact the designer to license the font.
Second is a linear stitch interpretation of the sign language alphabet.
The source is Deviant Art board poster and cross stitch designer lpanne, and is under her copyright. Again, if you create anything from this for sale, please take the time to contact the artist and ask for permission.
Although this last item presents text in a non-standard way, for most of us it makes it less rather than more comprehensible. But it’s a nifty idea for the nerdy-minded among us. Artst Sam Meech knits up scarves using ASCII coding, represented by two colors (one for 1 and the other for 0). He’s able to include entire quotations and text passages in his Binary Scarves. He sells them at his site below.
(photo shamelessly lifted from Sam’s site)
If you want to create your own binary string, tons of text-encoders abound. I used this one to translate
01010011 01110100 01110010 01101001 01101110 01100111 00101101 01101111 01110010 00101101 01001110 01101111 01110100 01101000 01101001 01101110 01100111 00001101 00001010
If this is new to you – each eight digit “word” is in fact a letter. “N” for example is 01101110. The binary scarves work like early paper punch tape, stacking each octet one above another. So the word “STRING” would come out like this:
01010011 = S
01110100 = T
01110010 = R
01101001 = I
01101110 = N
01100111 = G
There was a time in my distant past that I used paper tape, and could recognize and read the octet patterns by sight. But that was long ago, in a technology forgotten by time…
And its the cold, snowy part of the Boston seasonal experience. Which is not improving my outlook much. But there are bright spots. We do what we can.
Here’s a free offering (also available via my Embroidery Patterns tab, above). This motto just cries out to be a sampler, the irony of using an art that in and of itself requires intensive perseverance to accomplish is just too sweet. Click on the chart image to get the full JPG, formatted for 8.5 x 11 inch paper. (Finished stitching sample courtesy of long-time friend Gillian, who was the first to post a finished piece picture. Her’s is on 14-count Aida, finished post-wash size of stitched area is about 7″ x 9″.)
And here’s the finish from Edith Howe-Byrne on even weave, showing her variant treatment of the concept, using other counted stitches and beads (she’s leaving in the gridwork so she can use this piece as a reference for additional projects):
The alphabets used are (more or less) contemporary with the women’s suffrage movement – found on Ramzi’s Patternmaker Charts site, among his collection of vintage Sajou and Alexandre booklets. The particular one I used for all three alphabets is here. The border is adapted from one appearing in a 1915 German book of cross stitch alphabets and motifs, in the collection of the Antique Pattern Library.
We all do what we can, and I encourage anyone with heartfelt opinions to use their time and skill set in service, as they see fit. Even if you don’t agree with me, filling the airwaves with positive messages rather than caustic imagery can’t hurt.
If anyone stitches this up and wants me to showcase their effort, please let me know. I’ll be happy to add pix of your work to the gallery here.
On my own end, I have been productive as well.
First finished (but not first started) – a quick shrug. Possibly even for me.
This is knit from the generous bounty resettled upon me by the Nancys, for which I continue to be grateful. The multicolor yarn is older Noro Nadeshiko, a blend with a hefty dose of angora, along with silk and wool. It is soft and supple, and although I am generally not a fan of desert colors – is superbly hued, with just enough rose, sage, cream, and grey to be perfect. The accent edge is done is another of their gift yarns – two balls of a merino wool variegated single, worsted weight. I held it double for extra oomph. One thing to note about the Nadeshiko though – it sheds. A lot. And the Office Dogs where I work like to sniff it (it probably smells like a bunny).
The pattern is Jennifer Miller’s Shawl Collar Vest – a Ravelry freebie. It is a no-seam, quick knit, written for bulky weight yarn. The thing fairly knit itself. Four days from cast-on to wear-ready. My only criticism is that the XL size is really more of a 12/14. I can wear it, but it’s very tight, and tends to emphasize attributes with which I am already more than proportionally blessed. My answer to this problem will be to unravel the green finish rounds, and add about 2 inches of stripey, then re-knit the green.
The nifty pin is an official heirloom of my house. Long ago and far away, SCA friend Sir Aelfwine (now of blessed memory) made it for me as a cloak pin. Obviously I still treasure it and wear it when I can.
On the needles is also yet another pair of Susie Rogers’ Reading Mitts, another free pattern available from Ravelry. I’ve done four pair of these, but never for me. I rectify that oversight now.
Obviously, the first one is done. Now for the second.
The yarn is yet another denizen of the Great Nancy Box – a worsted weight handspun alpaca – chocolate brown with flecks of white and pale grey, from Sallie’s Fen Alpacas. The photo doesn’t do the yarn justice. It’s butter on the needles, and gloriously warm. The only mod I make to the original pattern is using a provisional cast-on, then knitting the cast-on edge to the body on the last pre-welt row (to eliminate seaming).
My typing fingers will be toasty when #2 is done.
I’ve finished the no-pattern/no-gauge pullover I started the last week of September, at the beach:
It’s a short but not cropped front-pocket/baggy-fit raglan pullover, knit in rustic New England style two ply Aran weight wool. The only seaming was grafting the top of the front pocket to the body. The thing is knit top down. Had I decided to add a pocket when I got to that point, I’d have worked it in, and knit the bottom edge into the body, and obviated any need to sew at all.
Younger Daughter has first dibs on the thing. It should fit her nicely, and if not – I’m sure I’ll find another family member or friend to wear it.
Here’s a working-method summary. I hesitate to call it a fully developed pattern because I haven’t calculated sizes, made exact measurements, or estimated exact quantities.
Wesley Crusher Unisex Pullover – A Method Description
Fits size 44 chest
Gauge: approx 18 stitches = 4 inches (10 cm) in stockinette
Recommended needle size: US #10 (6mm) circular for body, or size to get gauge; US #8 (5mm) circular for ribbing. You may wish to start the neck and finish the cuffs using DPNs of the same size.
If working the optional hand-warming pocket, either an additional US #10 (6mm) circ, or a pair of US #10 (6mm) straight needles, and a piece of contrasting color string, preferably a cotton in fingering weight or thinner, that will be used to baste the row to which the pocket is grafted, for better visibility in keeping that seam straight..
Materials: One skein of Bartlett Yarns 2-Ply Aran weight rustic wool (about 210 yards/192 meters) in shoulder color. 3.5 skeins of the same yarn in a contrasting color (about 735 yards/672 meters) for the body.
Other tools: 5 stitch markers, two large stitch holders or spare circular needles (any size) to hold the sleeve stitches while the body is being completed. Yarn sewing needle to darn in ends.
Using smaller needle, cast on 100 stitches, join in the round and work in stockinette for approximately 2 inches (a bit over 5cm). Switch to larger size needle.
Place marker, knit 35 stitches (front); place marker, knit 15 stitches (sleeve top); place marker, knit 35 stitches (back); place marker, knit 15 stitches (other sleeve top). Knit one round. The four markers indicate the center point of the raglan increases. There will be one marker left over. We’ll use it later.
Increase round #1: *K1, YO, knit until one stitch remains before the next marker, YO, K1, move marker*. Repeat this three more times.
Increase rounds #2 and #3: Knit.
Continue working increase rounds 1-3 until you have enough depth on the shoulders so that the under arm area ends about under the arm (don’t worry if there isn’t enough depth for the front and back raglan “seams” to meet. We’ll be adding stitches under the arm, and working them into gussets. I did my raglan increase set 18 times (making 18 holes in a rows down my raglan “seam,” and ending up with 71 stitches between my front markers, and 51 stitches across each sleeve). Be sure to finish after round 3.
Separate out the sleeves:
Knit 36 stitches. Place the fifth marker. Continue knitting across the front to the first raglan marker. Set it aside. Take a stitch holder or spare circular needle (or a piece of string threaded onto a yarn needle) and slide the 51 stitches of the sleeve onto it. We’ll revisit them later. Set aside the next raglan marker.
Returning to your working needle and replace the marker. Holding the sleeve stitches out of the way, cast on 16 stitches, preferably with a half-hitch cast-on to minimize bulk. Place marker. Continue in stockinette, knitting to the next marker. Set it aside.
Set aside the stitches for the second sleeve in the same way, sliding them onto a storage device, replacing the marker, casting on 16 stitches, and placing the remaining marker after the cast-on stitches.
You should now have a marker indicating the center front, plus four markers – two at either side, isolating the cast-on stitches. Continue in stockinette to the center front marker. We are going to use that marker at the center front as the “begin round” point from here on.
Work the body:
Knit one round in stockinette.
Gusset Decrease Round #1. Knit to the side marker, move marker, SSK. Knit until two stitches before the other side marker, K2 tog. move marker. Knit across the back of the piece until you reach the other side marker. Move it, SSK, knit until two stitches before the next marker, K2tog, move marker, knit to the center front marker.
Gusset Decrease Rounds #2 and #3: Knit.
Repeat Gussett Decrease Rounds until only two stitches remain between them. On the next row, knit to the marker, take it off, knit one stitch, put it back; knit one stitch and set the second side marker aside. Repeat this for the back. You should now have a tube with about 176 stitches in total – 88 for the front and 88 for the back.
Continue knitting the body tube until it is as long as you want, minus 2 inches (about 5 cm) for the ribbing.
Optional hand warming pocket:
You will need a second ball of your body yarn at this point, or you will need to work from both ends of your current skein. I’ll call this secondary source the “pocket yarn.”
Using your original body yarn, knit all the way around your piece until you reach the marker for the second side. Move it and knit 19. 25 stitches should remain before the center marker. Holding your original yarn and your pocket yarn together, knit to the marker, then knit 25 stitches after the marker. Drop the pocket yarn and continue around with your original yarn (don’t worry if you’ve mixed them up – it makes no difference). Make sure that the pocket yarn emerges from the PUBLIC side (the knit side) of the work after you drop it, before you continue around with the original yarn. Stop when you get to the start of the doubled stitches.
Take your second #10 needle (straight, circ, whatever). Working carefully with your original needle, knit one stitch of each doubled pair and slide its brother onto your second needle. When you are done you should have 50 stitches on the pocket needle, and the same original 88 for the front (plus 88 for the back) on your original body needle.
Knit one round on the body, just to make sure everything is snug and safe.
At this point you can either finish the body or continue on to the pocket. Your choice. If you opt to finish the body first, skip below to Ribbing, then return to this point.
For the pocket – you will be knitting flat, back and forth. This means that to achieve stockinette, you will be knitting on the right side of the work, but purling on the journey back.
Turn the sweater upside down. We will be working from the bottom back to the shoulders for the pocket.
Pocket Row #1: Knit 5. Place marker. Knit 40. Place marker. Knit 5.
Pocket Row #2: Knit 5, move marker. Purl 40, move marker. Knit 5.
Pocket Row #3: Knit 5. Move marker. SSK. Knit to 2 stitches before the next marker. K2tog. K5.
Pocket Row #4: Knit 5. Move marker. Purl to next marker. Move marker. K5.
Pocket Row #5: K5. Move marker. Knit to next marker. Move marker. K5
Pocket Row #6: Knit 5. Move marker. Purl to next marker. Move marker. K5.
Pocket Row #7: K5. Move marker. Knit to next marker. Move marker. K5
Pocket Row #8: Knit 5. Move marker. Purl to next marker. Move marker. K5.
Repeat Pocket Rows #4 through 8 until 38 stitches remain on the pocket needles, or the pocket is deep enough. If you want it deeper, work remaining rows without decreasing. When done, DO NOT bind off the stitches. Instead, break the yarn leaving about 2.5 feet for seaming.
Keeping the pocket stitches on the needle, smooth it out against the front of the sweater. Note the row where the pocket should be grafted. On the row ABOVE that, take your piece of marking string, thread it onto your yarn sewing needle and run it through that row for the width of the pocket. This will make identifying the row for seaming easier. If you are confident in being able to graft a straight seam, you can skip this step.
Using your extra long tail end left over from the pocket, graft the pocket stitches to the row immediately below the one you have carefully marked with basting. Invisible horizontal seaming works nicely for this, uniting the live stitches off the working needle with the body stitches.
Return to the original needle holding all of your body stitches. Take your smaller ribbing needle and working from the original needle onto the new smaller needle, start from the center front marker, and work K1, P2,* K2, P2* ending with K1 for the stitch immediately before the marker. Discard the larger needle and using the smaller one, continue in this K2P2 ribbing until you’ve worked 2 inches (about 5 cm) or the ribbing is long enough for you. Bind off in pattern.
Take your #10 needle and transfer the stitches for your sleeve to it. Take your body yarn and starting at the left point of the stitches you cast on underneath the arm, place marker, pick up 8 stitches place the center sleeve marker (suggest this be a different color), pick up another 8 stitches to finish filling in the gap, place the third marker, and knit around the sleeve. Knit around until you have returned to the center sleeve marker. NOTE: As you continue the sleeve from this point you may find that it gets uncomfortable to use a larger diameter circular, even if you “loop out” the excess cable as you go. Feel free to switch to DPNs or a two-circ method at any time during completion of the sleeve.
Sleeve Gusset Decrease Row #1: Knit to 2 stitches before the next marker, K2tog, move marker. Knit around the sleeve until you reach the other sleeve gusset maker. Move it. SSK, knit to the center sleeve marker.
Sleeve Gusset Decrease Row #2 and #3: Knit
Repeat Sleeve Gusset Decrease Rows #1 to 3 until only two stitches remain between them (one on either side of the centermost marker). At this point you should have 53 stitches. You can remove the two sleeve gusset markers and continue working until you sleeve is long enough (minus 2 inches for ribbing). On the final row before starting the sleeve ribbing, start the row with a K2 tog, so that you have 52 stitches. Switch to the smaller needle(s) and starting at the center sleeve marker, K1, P2, (K2, P2)*, ending with a K1. Work this K2P2 ribbing for about 2 inches (5 cm). Bind off in pattern.
Darn in your ends, and you’re done.
Another question from the inbox: “So, what’s up with those snails?”
No mystery – just a bit of silly that’s been codified into semi-tradition.
The original strip of snails was one of the first patterns I doodled up – inspired by the non-counted snails in Scholehouse for the Needle (1624). That was way long back ago, when I was still in college. They’ve wandered in and out of my notes over the years, first appearing as a spot motif, and eventually ending up in my first and second hand drawn pattern collections (published in ‘76 and in the early ‘80s) and eventually my own New Carolingian Modelbook. I dedicated that form of the pattern to Mistress Peridot of the Quaking Hand – a local resident of the SCA Barony of Carolingia (Eastern Massachusetts/greater Boston area), famed for her calligraphy and her unselfish sharing of the same. The artist behind so many excellent awards scrolls. Peridot’s own device features a sleepy snail.
Maybe it’s a subliminal comment on slow, steady perseverance inherent in needlework, but for whatever reason, I have used that snail on the majority of my samplers. Not all, but most. Here are charts for some of the ways my little creeping friends have shown up. The original row is at the top left. The all-over of snails circling little gardens with ominous intent is from the Trifles sampler. The ribbon strip at the lower left is the bit I’m currently stitching in blue and red.