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12 ART-INSPIRED PATTERNS FOR SUMMER I NTE RW E AV E OAwP-eAsoRmTe SUMMER 2022 Create Garments & VASARELY COWL Accessories that Pop Qualyn Stark CRAFTING A CAREER P. 22 Learn why makers turn hobbies into businesses I N T E RW E AV E .C O M P. 8 MANAGE YARNS in Stranded Colorwork P. 40 5 PROJECTS WITH A BACKSTORY

UN IVERSAL YA R N SPRING MAGIC in VIREO w w w. u n i v e r s a l y a r n . c o m fine fibers available at your local yarn shop & online

CONTENTS INTERWEAVE KNITS • SUMMER 2022 PROJECTS Backstory Op-Art Collection 47 Argenteuil Top 13 Morellet Top Nadya Stallings Lana Jois 48 Morisot Tee 14 Aperiodic Socks Susanna IC Aud Bergo 51 Seaglass Shell 17 Visual Tempo Shawl Daniela Nii Natalya Berezynska 52 Giverny Top 18 Retinal Tee Donna Estin Blazenka Simic-Boro 55 Fournaise Tee 21 Apollonio Shawl Jennifer Kent Rachel Clark 22 Vasarely Cowl Qualyn Stark 25 Rule of Odds Shawl Takako Takiguchi 21 55 FEATURES 08 Craft-Entrepreneurs Ashli Ree 40 Parallel vs. Rotating Floats Roxanne Richardson DEPARTMENTS 02 Editor’s Note 04 Maker’s Tools 06 Fiber Review: Summer Not-So-Casual Allison Korleski 72 Ravelings: Successfully Knitting During Work Video Calls Anamaria Bejar 1SUMMER 2022 WWW.INTERWEAVE.COM

EDITOR’S NOTE Dear Reader, MELANIE FALICK MARILYN MURPHY SUMMER 2022 • VOLUME XXVII • NUMBER 2 Before sitting down to write my first Winter ’99/’00 to Summer ’03 Fall ’96 to Fall ’99 EDITORIAL Editor’s Note as editor of Interweave DIRECTOR OF CONTENT Tamara Honaman Knits, I mined the archives and looked PAM ALLEN back over the dozens that were written EDITOR Kerry Bogert in the more than 25 years of this Fall ’03 to Summer ’07 SENIOR PROJECT EDITOR Joni Coniglio magazine’s history. Since the premiere issue in 1996 (the year I graduated high EUNNY JANG ASSISTANT EDITOR Julia Pillard school), amazing women have each added their unique TECHNICAL EDITOR Karen Frisa voice to these pages. Their work built the foundation of Fall ’07 to Spring ’13 excellence in design, education, and technical expertise for COPY EDITOR Dale Ulland which Knits is known, and all have my sincerest thanks for MEGHAN BABIN LISA SHROYER PROOFREADER Lavon Peters their contributions. Although I am new to this magazine, I am not new to Winter ’16 to Winter ’19 Summer ’13 to Fall ’15 CREATIVE SERVICES Interweave. My career with this company began in 2006 GROUP ART DIRECTOR Kerry Jackson when I was a stay-at-home mom making glass beads and STEPHANIE WHITE KERRY BOGERT HANNAH BAKER wire jewelry in my garage. Denise Peck, editor of the GRAPHIC DESIGNER Lisa Park former sister magazine Step-by-Step Wire Jewelry, gave Spring ’21 to Spring ’22 Summer ’22 to ... Spring ’19 to Winter ’21 PHOTOGRAPHY Molly Stevenson me my big break when she chose my Berry Wine Bracelet for the Fall issue that year. I became a regular contributor STYLING Tina Gill to the magazine, then a contributor to books, and then an HAIR & MAKEUP Beauty on Location Studio author myself. I traveled internationally to teach, I made appearances on PBS’s Beads Baubles & Jewels, and I TECHNICAL ILLUSTRATION Sue Friend even filmed a DVD. In June 2013, I joined the book team as acquisitions editor. As AE, I wasn’t focused solely on MARKETING & ADVERTISING jewelry making; I was able to develop books on everything SENIOR MARKETING MANAGER Jessi Rodriguez Interweave had to offer—knit, crochet, spinning, weaving, beadwork, mixed media, quilting, and sewing. In 2015, I ADVERTISING SALES MANAGER took on the role of editorial director of books and continued to work with authors until 2019 when the book division was Diane Kocal, [email protected] sold to Penguin Random House. AD TRAFFICKER Lori Hauser Experience, though, is a funny thing. Sixteen years in publishing sounds like I should know what I’m doing, yet I CHIEF EXECUTIVE OFFICER Jeffery Litvack feel like I’m still learning every day. Working on this issue, CHIEF SALES OFFICER Farrell McManus I discovered “The Responsive Eye,” 1965’s groundbreaking VP, STRATEGY Andrew Flowers op-art exhibit that inspired many of the pieces here in the Op-Art Collection (page 11). I spent time researching the NEWSSTAND SALES regions of the world that inspired impressionist painters to put oil to canvas for the Backstory collection (page 46). Scott T. Hill, [email protected] Reading this issue’s feature article “Craft-Entrepreneurs” (page 8), by Ashli Ree, I was reminded of my own To subscribe, please call (800) 835-6187 or visit craft beginnings. I marveled at Roxanne Richardson’s www.interweave.com. knowledge of stranded colorwork (page 40), and I chuckled at Anamaria Bejar’s tips for knitting when working from Subscription Services: Have a question about your home (page 72). All of this, right here … in Knits. Interweave Knits subscription? Visit our website, call us, or As I read the Editor’s Notes from those who came before email your question, and we’ll be happy to assist you. Go me, I wondered to myself what I want my contribution to to www.interweave.com and click on Subscriber Services to be. Perhaps what I’ll bring to my time at the helm of this change your address, pay your bill, and to submit subscription magazine is the sense that there is still more to learn—no questions or concerns. matter one’s experience. I’m looking forward to it. Email: [email protected] U.S. & Canadian Customer Service: (800) 835-6187 Yours in knitting, International Customer Service: (386) 246-0105 Mail: PO Box 37869, Boone, IA 50037-0869 Interweave Knits® (ISSN 2328-286X print and 2328-2940 online) is published quarterly by Interweave, a division of Peak Media Properties, LLC, dba Golden Peak Media, 4868 Innovation Drive, Fort Collins, CO 80525, USPS #017-249. Periodicals postage paid at Fort Collins, CO 80525, and additional mailing offices. All contents of this issue of Interweave Knits are © 2022 by Peak Media Properties, LLC. All rights reserved. Subscription rate is $26.95/one year in the U.S., $30.95/one year in Canada, and $33.95/one year in international countries (surface delivery). U.S. funds only. Postmaster: Send address changes to Interweave Knits, PO Box 37869, Boone, IA 50037-0869 Advertising Information: Email Diane Kocal at [email protected] or visit www.interweave.com. Retailers: If you are interested in carrying this magazine in your store, please email [email protected] or call (800) 272-2193. Editorial inquiries: Email [email protected]. Projects and information are for inspiration and personal use only. Reproduction in whole or in part is prohibited, except by permission of the publisher. Patterns, charts, and schematics may be photocopied to make projects for personal use. We’ve made every effort to ensure the accuracy of the contents of this publication. However, human errors do occur. If you have questions regarding a pattern in this issue, please contact us at www.interweave.com. Interweave Knits® does not recommend, approve, or endorse any of the advertisers, products, services, or views advertised in Knits. Nor does Knits evaluate the advertisers’ claims in any way. You should, therefore, use your own judgment in evaluating the advertisers, products, services, and views advertised herein. 2SUMMER 2022 WWW.INTERWEAVE.COM



MAKER’S TOOLS 1 2 3 4 5 PLAYFUL TO PRACTICAL Accessories for Summer Crafting 1 If you have ever wanted to try macramé, then this Modern Macramé Plant Hanger Kit is the perfect little splurge. With clear instructions, video tutorials, and all the supplies you need, you’ll be on your way to creating a beautiful, functional piece of décor in no time! www.modernmacrame.com 2 Try your hand at some embroidery with this Summer Breeze Embroidery Kit. Inspired by the floral paintings on vintage stoneware dishes, this kit includes everything you need to create a beautiful piece of embroidered art. www.cozybluehandmade.com 3 Give your crafting space an extra boost of beauty with a Wax & Wool Etc. Candle. These gorgeous candles are hand-poured in small batches and made with 100% soy wax for a smooth, clean burn with an estimated 50-hour burn time. Plus, they smell absolutely divine! www.etsy.com/shop/waxandwooletc 4 Perfect for keeping your knits clean, silky, and springy, Wool Wash from The Farmer’s Daughter Fibers is made with natural lanolin for softness and tea tree oil for protection. They have also recently switched to using glass bottles instead of plastic to ensure that the wool wash is even more ecofriendly. www.thefarmersdaughterfibers.com 5 Add some sweet fiber friends to your home with a set of Tiny Stuffed Alpacas. These handpainted mini alpacas are needle-tufted using mill end fibers and have little seed beads for eyes. Although these dainty darlings are sold individually, we recommend getting yourself a small herd. www.knitpicks.com 4SUMMER 2022 WWW.INTERWEAVE.COM

Fall into a Luxury Ireland Knitting Retreat this October! Tour Date: 8th October 2022 One Tour Date Only Limited Availability Our Exclusive Donegal Knitting Retreat brings you the best of Ireland’s Wild Atlantic Way scenery together with a 5***** castle hotel experience as you immerse yourself into 6 nights of knitting, textile and yarn discovery! Non-Knitters welcome with a discount. Your Retreat Host - Designer Edel MacBride! Also Included: Quality Hotels, Sightseeing Tours, Entrance Fees, Meals, Crafts Demonstrations and Knitting Workshops! Read What Our Customers Say Search www.KnittingTours.Com KnittingTours.Com Reviews! TollFree: 1800 913 1135 [email protected] P.S. Check out our website for more tours! KnittingTours.Com is part of the Irish Tourism Group, Trusted tour operator, members of ACTA, ASTA & ITOA

FIBER REVIEW Summer NOT-SO-CASUAL BY ALLISON KORLESKI Warmer temps make us want to ditch heavy, woolly yarns in favor of cooler, more plant-based fibers. Although they lack wool’s inherent boinginess, cotton, linen, and silk have a beautiful drape, and they feel comfortable against the skin when the mercury rises. The three yarns below add a surprising touch of luxury to otherwise casual fare. Think gloss, not glitz. 1. BC GARN SUMMER IN KASHMIR 3. UNIVERSAL YARN MAGNOLIA Content: 90% organic cotton, 10% cashmere | Color: Mint Put-up: 180 yd (165 m)/1.75 oz (50 g) | Weight: Fingering Content: 95% modal, 5% cashmere | Color: Brambleberry Put-up: 361 yd (330 m)/3.5 oz (100 g) | Weight: Fingering Cotton yarns can be dense and heavy, but the addition of cashmere lightens the load here. Available in 27 colors— Modal is a “semi-synthetic,” cellulose-based yarn made from summer brights to pale neutrals—this is a year- from beechwood. Completely biodegradable, modal yarn round yarn but particularly nice for summer tops. requires less water than cotton, is just as durable, and has a www.kelbournewoolens.com slight sheen. Here, it is blended with a touch of cashmere for softness and would be perfect for shawls, tanks, and 2. SHIBUI KNITS KOAN tees. www.universalyarn.com Content: 70% linen, 30% mulberry silk | Color: Ash Put-up: 248 yd (227 m)/1.75 oz (50 g) | Weight: Fingering Rustic linen pairs with refined silk in this delicate 2-ply yarn. Although the skein has a slight “crunch” to it, Koan softens immediately with blocking or washing. It would make lovely lace shawls or stoles, but it really shines in simple stockinette. Try it in an elegant, simple silhouette to show off its fluid drape. www.shibuiknits.com 6SUMMER 2022 WWW.INTERWEAVE.COM

FIBER REVIEW BC GARN SUMMER IN KASHMIR SHIBUI KNITS KOAN UNIVERSAL YARN MAGNOLIA 7SUMMER 2022 WWW.INTERWEAVE.COM

PHOTO COURTESY OF UNI-T WWW.SHOPUNI-T.COM CRAFT-ENTREPRENEURS HOW THEY START AND GROW THEIR BUSINESSES BY ASHLI REE Since 2015, I have taken my fashion-merchandising students something they always wanted to do. Some said that it was some- to trade shows, both large ones such as MAGIC and local thing they were meant to do, something that was a part of them. ones in the New England area. I kept seeing handmade It started with finding joy in the making process. As they spent garments and accessories, alongside mass-produced over- more and more time making—in some cases more time on it than seas products. At the time, I was teaching full time at a community their full-time work—and receiving positive feedback from other college, teaching part time in a state university, and in a doctoral people, they wondered if it would be possible to make a living as program at Columbia University. My students were wondering a craft-entrepreneur. This is most likely the starting point for how these apparel makers started and maintained their craft individuals who end up making the transition from a craftsperson businesses, and I didn’t have an answer. I was unsatisfied with to a craft-entrepreneur. In addition to making handmade products the limited information available and what I was able to gather that were aesthetically pleasing, they started to see that there from brief conversations. So, I decided to research and write my may be a need for their products and that people would pay for doctoral dissertation on how some makers (handknitting, weaving, them. In many cases, this first validation, which often came from sewing, and felting) become entrepreneurs and make a living people they already knew, led to selling in a small way. It started doing what they love. I interviewed 20 craft-entrepreneurs with with the design being shared, either in person or online. Friends experiences ranging from three to 40 years of making and selling. and family often suggested the selling idea. As I sat in their studios and their homes, listening to their amazing life histories as makers and entrepreneurs, I realized others could Many craft-entrepreneurs also experienced a second type of benefit from their stories. validation in the form of positive feedback from people they did not know. This often involved testing the product by opening an MOTIVATION Etsy shop or selling at a small craft fair, both with limited inven- tory and low costs. One craft-entrepreneur who started her career One of the first questions I had was why some makers decide to as a successful illustrator realized how inconsistent her workload become professional artists selling handmade crafts, instead of and pay were. After wondering how she could make a living as an keeping it as a hobby. When the craft-entrepreneurs were asked artist, she decided to hand-screenprint her illustrations on organic why they started their entrepreneurial journey, they described it T-shirts and try to sell her work that way. To test the market, she as responding to, first, their creative calling and, second, their started by going to an outdoor market to sell. She recalled it being work and life experience. a humbling experience in the beginning, going from publishers in big cities paying her thousands of dollars for her work to selling When discussing the experience of making and selling their $29 T-shirts with her illustrations in her neighborhood. On that handmade garments, the craft-entrepreneurs shared that it was day, she specifically recalled one man telling her she was in the 8SUMMER 2022 WWW.INTERWEAVE.COM

C R A F T- E N T R E PR E N E U R S wrong place and needed to be in Nordstrom because her products those with work experience as apparel designers said the companies were that good. That comment gave her the courage to sell in set the price based on the manufacturing cost. In the beginning, places such as SoWa (one of the better curated handmade markets the only two factors most considered in pricing their garments in Boston). She also sold many T-shirts were the material cost and the time they that day, many more than she expected. invested. In many cases, it was difficult Many craft-entrepreneurs had similar to determine even those two factors experiences. After receiving positive because many did not always keep the feedback, not just in words but in seeing receipts, or they lost track of time while how many pieces they sold, they were making. They often came up with the able to move to creating an independent price based on what they remembered as website (sometimes along with an Etsy the cost for the material and labor. They shop) or entering better craft shows, quickly learned that they also had to which cost more but generally drew cus- think about all the variable factors, such tomers willing to spend more for better- as time required for the entrepreneurial quality products. role, itemized overhead expenses, and It is interesting to point out that financial goals. although all 20 craft-entrepreneurs men- Another initial challenge that the tioned the design aspect as something craft-entrepreneurs had to work through that was always a part of them, there was involved making design changes. They a large variance when it came to starting Artist Eujin Kim Neilan’s illustrations are stated that increased freedom is an the entrepreneurial journey. Of the 20, drawn and silkscreened by hand. important reason for starting the entre- six started in their 20s, three in their preneurial journey. Therefore, on one 30s, five in their 40s, and six in their 50s. level, it is ironic that one of the most cited Those starting in their 20s and 30s challenges that craft-entrepreneurs faced viewed their journey as low risk because was the limitations put on their designing they were in the early stages of their process: namely, avoiding making prod- career. For craft-entrepreneurs starting ucts that were too time-consuming, too their journey later on in life, it often costly, and too experimental for the began with reacting to incidents happen- market. This is particularly difficult for ing in their life at the time. Those starting those who follow more-sustainable prac- in their 40s and 50s, shifting from mid- tices in making. One particular crafts- career or late career, the decision was person who creates slow-fashion products reactive, either from a positive experience (similar to farm-to-table process) shared (e.g., finding adaptive clothing solution how often she has to think about the time for family members) or a negative experi- and the cost. She works with local sheep ence (e.g., being unhappy with the indus- farms to collect wool, and she also dyes try or being laid off), or, in some cases, the yarn using wild plants found in her both. Neilan sells her goods at her gift shop, area, even going so far as to grow some Uni-T, in Natick, MA. herself. She isn’t simply purchasing the CHALLENGES PHOTOS COURTESY OF UNI-T WWW.SHOPUNI-T.COM materials needed, so she often has to work with what she has. To justify her As much as the craft-entrepreneurs were price, she explains her entire sustainable excited about the idea of selling their process on her website. handmade products, they quickly real- The emotional challenges include both ized the different challenges that come emotional highs and lows. The craft- with turning their passion into a profit- entrepreneurs shared feeling isolated able business. The challenges for craft- because of uncertainty and lack of under- entrepreneurs were divided into two standing from family, friends, and tra- broad categories: accounting and emo- ditional business-support systems. For tional challenges. instance, when they turned to friends All 20 craft-entrepreneurs shared that and family for emotional support, after pricing was a challenge to which they some time, they found that some friends needed to adapt. The design process and family were tired of hearing about started with creating garments for aes- their business. On the other hand, all 20 thetic and functional value as well as craft-entrepreneurs shared that there finding self-value. Until they decided to was an emotional high when they first sell their designs, the monetary value was not something they decided to sell what they made and especially after each sale. had considered. This was partly because the value of their time Interestingly, the emotional challenges can come from both selling and skills was, in the past, often set by their employers. Even too much and not selling enough. Not selling led them to think 9SUMMER 2022 WWW.INTERWEAVE.COM

C R A F T- E N T R E PR E N E U R S PHOTOS COURTESY OF B.FELT Fiber artist Barbara Poole creates one-of-a-kind felted Poole sells her work online at bfelt.us and at arts and crafts garments and accessories. shows around the country. of the additional expense toward a booth fee or a website, and to keep in mind is that as one begins, one may be bombarded with wondering whether this was the right decision for them. different, sometimes contradictory advice. One way to help sort Sometimes, even selling too much can be an issue. One craft- through this is to have clearly stated goals for the business. entrepreneur shared that she sold out on the first day of a juried show and she needed to have more products for the second day. In many cases, craft-entrepreneurs abandoned their prior skills She shared how she stayed up all night making more products to and professional network because they thought they were irrel- sell in person the next day. Other craft-entrepreneurs have shared evant, but afterward, they found that even seemingly irrelevant that they sometimes must stop taking orders so that they can experience could provide a valuable new perspective. For example, catch up but then worry about how many orders they are losing. one craft-entrepreneur first started her career in the information- technology field. She initially thought that IT and her product ADVICE (adaptive sewing kits) were not related. After she realized how IT solutions are created—namely, thinking of the end user—she Asked to give advice to someone starting this journey, the 20 began to approach her product-development process with the end craft-entrepreneurs’ responses differed depending on where they user in mind. The changes she made from her prior work experi- were in their entrepreneurial journey. All acknowledged that they ence made a difference in her business. learned most of what they needed to learn through experience. No courses on design or entrepreneurship, no mentors, and no The more experienced group of craft-entrepreneurs focused on self-directed research will fully prepare anyone for this dual role. quality assurance, feedback for selling, and recognizing different They indicated that, at some point, one must just go for it, expect- needs. The majority of craft-entrepreneurs at this stage were ing to make changes along the way. selling in better marketplaces, such as juried shows or galleries selling “fiber art garments.” They also became selective in those As one starts the journey, craft-entrepreneurs said they needed with whom they connected, often other craft-entrepreneurs with support in the decision-making process—both business advice similar technical skills and shared history. They often had different and technical support. They often started with family or friends. connections for different needs, such as design, merchandising, They also joined online groups, especially the ones focusing on and business. local marketplaces. Most important, they urged people to find a more experienced craft-entrepreneur. One craft-entrepreneur It is more common to have repeat customers at this stage, and said to ask and ask again until you have the right three people as it is important to have designs that customers recognize as yours mentors, with at least one selling similar products. The mentors but different enough every few seasons so that customers see the or the network will evolve as the business grows. Although new design as something fresh and new. One craft-entrepreneur shared craft-entrepreneurs may be hesitant to seek out other craft- that she changes her designs regularly, and she has been able to entrepreneurs, in many cases, craft-entrepreneurs do not generally maintain some customers for more than 25 years. Some have said see one another as competitors and are willing to help, because that as you age, your customers age too, and they may not need they remember what it was like to start this journey. One thing the same products anymore. It is important to enter new markets from time to time to gain an understanding of changes in the market. ASHLI REE is a fashion merchandising professor. She lives in Lowell, Massachusetts. She is passionate about introducing handmade marketplaces and different makers to her students in order to teach more-sustainable ways of making and selling wearable products. SUMMER 2022 10 WWW.INTERWEAVE.COM

OP-ART COLLECTION Inspired by “The Responsive Eye,” a groundbreaking exhibit organized by William C. Seitz in 1965, and contemporaries of the time, this collection celebrates bold, graphic design and kinetic patterns.



MORELLET TOP LANA JOIS Reminiscent of the work of French abstract artist François Morellet, the front and back of this top are each cleverly worked starting from the center block and working in the round out to the edges. The ribbed neckline and shoulder details beautifully accentuate the curves of the upper body without distracting from the garment’s bold linework. YARN Brooklyn Tweed Dapple PATTERN Page 26 SUMMER 2022 13 WWW.INTERWEAVE.COM

APERIODIC SOCKS AUD BERGO Worked from the cuff down to the toe, the tessellating colorwork pattern of the Aperiodic Socks is disrupted by a solid-color cuff, heel flap, and toe, as well as a striped gusset and sole. The juxtaposition of stripes and curves with a strong chromatic color choice makes these socks perfectly op-ish. YARN Debbie Bliss Toast, distributed by LoveCrafts PATTERN Page 28 SUMMER 2022 14

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VISUAL TEMPO SHAWL NATALYA BEREZYNSKA Settle into the rhythmic flow of twisted-stitch waves as you work the Visual Tempo Shawl. The tussah silk blended with Merino wool in the yarn enhances the flow with a luscious drape and supple texture. YARN Anzula Luxury Fibers Croquet PATTERN Page 30 SUMMER 2022 17 WWW.INTERWEAVE.COM

RETINAL TEE BLAZENKA SIMIC-BORO To achieve their illusions, optical artists regularly play with the way our eyes register light. The Retinal Tee teases not only our sense of sight but our sense of touch as well. Ecopuno is an unexpected blend of cotton, Merino wool, and baby alpaca that is incredibly soft while being light enough for the perfect summer garment. YARN Lana Grossa Ecopuno, distributed by The Trendsetter Yarn Group PATTERN Page 33 SUMMER 2022 18

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APOLLONIO SHAWL RACHEL CLARK Italian painter Marina Apollonio expertly created optical illusions in her art. The Apollonio Shawl pays homage to her work as a three-quarter square design with rounded corners. The striking sections of red give the viewer a place to rest when taking in the vivid linework. YARN SweetGeorgia Flaxen Silk DK PATTERN Page 34 SUMMER 2022 21 WWW.INTERWEAVE.COM

VASARELY COWL QUAYLN STARK French-Hungarian artist Victor Vasarely is widely considered the “grandfather” of the op-art movement. His lasting influence is highlighted in the Vasarely Cowl. Diminishing-width squares become rectangles in an optical illusion—producing a colorwork motif that is as relevant today as it was in 1965. YARN Rowan Cotton Wool PATTERN Page 37 SUMMER 2022 22

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RULE OF ODDS SHAWL TAKAKO TAKIGUCHI Many optical artists experimented with shaping stripes to achieve various visual effects. Here, short-row shaping at one edge and the supple drape of silk yarn worked at a loose gauge achieve the same result when the shawl wraps the body. The Rule of Odds Shawl is worked back and forth from the narrow end to the wide end. YARN Handmaiden Fine Yarn Sea Silk PATTERN Page 38 SUMMER 2022 25 WWW.INTERWEAVE.COM

changing colors every 8 rnds, until dec’d. Rep RS dec row—2 sts dec’d. Next diagonal lines across square (see row (WS) K1, purl to last st, k1. Rep Diagram 1) measure 11 (12½, 14, 15, last 4 rows until 4 sts rem. Next row 16½, 18, 19, 20½, 22, 23)\", ending with (if RS) K1, k2tog, k1—3 sts rem; (if WS) a knit rnd, and changing to cir needle K1, p2tog, k1—3 sts rem. Next row Sl when necessary. Lower right corner: 1 kwise, k2tog, psso—1 st rem. Fasten (See Diagram 2.) Keeping sts between off last st. Cont body: (See Diagram 3.) first 2 m on needle, remove first 2 m, Transfer held sts to cir needle and, with then place foll sts on holder. Dec row RS facing, rejoin yarn. Next row (RS) (RS) K1, ssk, knit to last 3 sts, k2tog, K1, ssk, *knit to 1 st before m, k1f&b, sl k1—2 sts dec’d. Dec row (WS) K1, m, k1f&b; rep from * once more, knit to p2tog, purl to last 3 sts, ssp, k1—2 sts last 3 sts, k2tog, k1—2 sts inc’d. MORELLET TOP C D E 1 LANA JOIS FRONT & Difficulty B A: 17 (19, 21, 23, 25, 27, 29, 31, 33, 35)\" Yarn Weight BACK B: 14½ (15, 15, 15, 15, 15, 15, 15, 15, 15)\" OP-ART COLLECTION Finished Size 34 (38, 42, 46, 50, 54, C: 6½ (7, 7, 7½, 8, 8½, 9, 9½, 10, 11)\" 58, 62, 66, 70)\" circumference at A D: 3½ (4¼, 5, 5¾, 6¾, 7¾, 8½, 9½, 10½, 11¼)\" underarm. Top shown measures 42\"; 2 E: 10 (10½, 11¼, 11¾, 11½, 11½, 12, 12, 12, 12½)\" modeled with 5¾\" of positive ease. Yarn Brooklyn Tweed Dapple lower 3 horizontal diagonal (60% Merino wool, 40% organic cot- right vertical diagonal ton; 165 yd [151 m]/1¾ oz [50 g]): #765 corner lower Blueprint (MC), 3 (3, 4, 4, 4, 5, 5, 6, 6, 6) right skeins; #785 Plinth (CC), 2 (3, 3, 3, 4, 4, corner 4, 5, 5, 5) skeins. Needles Size 6 (4 mm): 16\" and 32–40\" circular (cir), depending on size you are making, and set of double- pointed (dpn). Adjust needle size if necessary to obtain the correct gauge. Notions Markers (m); stitch holders; tapestry needle. Gauge 18 sts and 30 rnds = 4\" in St st. •NOTES For techniques you don’t know, please visit our online knitting glossary at www.interweave.com • /interweave-knitting-glossary. This top is worked in two separate pieces and seamed. Each piece is worked from the center out in the round and then the corners are worked back and forth. Stitches are picked up for the upper and lower edgings. FRONT With MC and dpn, CO 8 sts. Place marker (pm) and join in the rnd. Next rnd *[K1f&b] 2 times, pm; rep from * 2 more times, [k1f&b] 2 times—16 sts. Next rnd Knit. Inc rnd [K1f&b, knit to 1 st before m, k1f&b] 4 times—8 sts inc’d. Next rnd Knit. Rep last 2 rnds, SUMMER 2022 26 WWW.INTERWEAVE.COM

Next row (WS) K1, purl to last st, k1. upper 6A upper Rep last 2 rows until horizontal diagonal right left measures 17 (19, 19½, 20, 20½, 21, 21½, 5A 22, 22½, 23½)\", ending with a WS row. 4A corner corner Sizes 34 (38)\" only: Lower left corner: (See Diagram 4A.) lower lower lower lower lower lower Keeping sts up to first m on needle, right left right left right left remove first m, place foll sts on holder. corner corner Work as for lower right corner. Add corner corner corner corner height: (See Diagram 5A.) Return sts 4B to needle and, with RS facing, rejoin upper 5B upper yarn. Next row (RS) K1, ssk, knit to lower right left 1 st before m, k1f&b, sl m, k1f&b, knit to right corner last 3 sts, k2tog, k1. Next row (WS) K1, corner corner purl to last st, k1. Rep last 2 rows until vertical diagonal measures 18½ (19½)\", horizontal diagonal ending with a WS row. Upper left cor- vertical diagonal ner: (See Diagram 6A.) Keeping sts up to m on needle, remove m, place foll sts lower lower on holder. Work as for lower right corner. right left Upper right corner: Transfer held sts corner to needle and, with RS facing, rejoin corner yarn. Work as for lower right corner. Sizes 42 (46, 50, 54, 58, 62, 66, 70)\" OP-ART COLLECTION only: Add width: (See Diagram 4B.) Keeping sts up to 2nd m on needle, 98, 106, 118, 126, 134, 146, 154, 162) at center of underarm, pick up and knit remove 2nd m, place foll sts on holder sts evenly spaced along lower edge of 60 (64, 64, 68, 72, 76, 84, 88, 92, 100) for upper right corner. Next row (RS) piece. Work in k2, p2 rib until edging sts evenly spaced around armhole edge. K1, ssk, knit to 1 st before m, k1f&b, sl measures 1\". Loosely BO all sts in patt. Pm and join in the rnd. Work in k2, p2 m, k1f&b, knit to last 3 sts, k2tog, k1. rib for 4 rnds. Loosely BO all sts in patt. Next row (WS) K1, purl to last st, k1. BACK Rep last 2 rows until horizontal diagonal Work as for front. LANA JOIS loves to knit! Sweater or measures 21 (23, 25, 27, 29, 31, 33, 35)\", shawl, texture or lace. She is happiest ending with a WS row. Lower left cor- FINISHING when knitting lace but is always ner: (See Diagram 5B.) Keeping sts up to Weave in ends. Block pieces to measure- experimenting with technique and m on needle, remove m, place foll sts on ments. With RS tog, join shoulders using construction. Her work has appeared in holder for upper left corner. Work as for three-needle BO. Sew side seams, leaving Interweave Knits, knitscene, knit.wear, lower right corner. Upper left corner: 6½ (7, 7, 7½, 8, 8½, 9, 9½, 10, 11)\" open and Twist Collective. Find more of her Return upper left corner sts to needle above for armholes and 4\" open below designs on Ravelry as Lana Jois. and, with RS facing, rejoin yarn. Work for side vents. Armhole band: With as for lower right corner. Upper right MC, 16\" cir needle, and RS facing, beg corner: Return upper right corner sts to needle and, with RS facing, rejoin yarn. Work as for lower right corner. All sizes: Upper edging: With MC, cir needle, and RS facing, pick up and knit 78 (90, 98, 106, 118, 126, 134, 146, 154, 162) sts evenly spaced along top edge of piece. Do not join. Work in k2, p2 rib until edg- ing measures 1½\", ending with a WS row. Next row (RS) Work 16 (20, 23, 26, 32, 36, 39, 45, 49, 52) sts in patt and place these sts on holder for left shoulder, BO 46 (50, 52, 54, 54, 54, 56, 56, 56, 58) sts in patt, work in patt to end—16 (20, 23, 26, 32, 36, 39, 45, 49, 52) sts rem for right shoulder. Place sts on holder. Lower edging: With MC, cir needle, and RS facing, pick up and knit 78 (90, SUMMER 2022 27 WWW.INTERWEAVE.COM

OP-ART COLLECTION APERIODIC SOCKS indicated for your size, work Leg chart m, beg and ending as indicated for your over 30 (34, 38) sts, pm, k1 with CC, k1 size, work Instep chart over 30 (34, 38) AUD BERGO with MC; rep from * once more. Keeping sts, sl m, k1 with CC, k1 with MC, pm, uncharted sts in vertical stripes as work Gusset chart over 53 (57, 61) sts. Difficulty established, cont in patt through Rnd 45 Next rnd K1 with MC, k1 with CC, sl Yarn Weight of chart. Heel: Note: Heel is worked m, work Instep chart to m, k1 with CC, Finished Size 7¼ (8, 9)\" foot circumfer- back and forth on back of leg sts with k1 with MC, sl m, work Gusset chart to ence and 8½ (9, 9½)\" long from back MC. Change to smaller needles. Set-up end—2 sts dec’d. Cont in patt, keep- of heel to tip of toe. Socks shown row (WS) With MC, sl 1 pwise wyf, p1, ing uncharted sts in vertical stripes as measure 8\". remove m, p30 (34, 38), remove m, p1, established, through Rnd 22 of Gusset Yarn Debbie Bliss Toast (65% wool, remove beg of rnd m, p1—34 (38, 42) chart—65 (73, 81) sts rem: 34 (38, 42) sts 25% polyamide, 10% cashmere; 459 yd heel sts. for instep, 31 (35, 39) sts for sole. Foot: [420 m]/3½ oz [100 g]): #10 Gold (MC) Row 1 (RS) Sl 1 kwise wyb, k1, *sl 1 Next rnd Work 34 (38, 42) sts in patt, sl and #04 Rose (CC), 1 ball each. Yarn pwise wyb, k1; rep from * to end. m, k1 with CC, *k1 with MC, k1 with CC; distributed by LoveCrafts. Row 2 (WS) Sl 1 pwise wyf, purl to end. rep from * to end. Cont in patt through Needles Sizes 1 (2.25 mm) and 2 Rep 2 last rows 18 (19, 20) more times, Rnd 55 of chart, removing m on last (2.75 mm). Adjust needle size if neces- then work Row 1 once more. Turn heel: rnd. Break CC. Toe: Change to MC and sary to obtain the correct gauge. Short-row 1 (WS) Sl 1 pwise wyf, smaller needles. Set-up rnd Remove m, Notions Markers (m); tapestry needle. p18 (20, 22), p2tog, p1, turn—33 (37, 41) k1 (transfer this st from instep to sole), Gauge 36 sts and 38 rnds = 4\" in heel sts rem. pm for new beg of rnd, k32 (36, 40) instep colorwork patt on larger needles. Short-row 2 (RS) Sl 1 kwise wyb, k5, sts, pm, transfer 1 st from instep to sole, ssk, k1, turn—32 (36, 40) heel sts rem. k33 (37, 41) sole sts. Knit 0 (2, 4) rnds. •NOTES Short-row 3 Sl 1 pwise wyf, purl to 1 st Dec rnd *K1, ssk, knit to 3 sts before m, For techniques you don’t know, before gap, p2tog, p1, turn—1 st dec’d. k2tog, k1; rep from * once more—4 sts please visit our online knitting Short-row 4 Sl 1 kwise wyb, knit to 1 st dec’d. Rep dec rnd every other rnd 3 (3, 4) glossary at www.interweave.com before gap, ssk, k1, turn—1 st dec’d. more times, then every rnd 9 (11, 12) Rep last 2 short-rows 5 (6, 7) more times—13 sts rem. Break yarn and draw • /interweave-knitting-glossary. times—20 (22, 24) heel sts rem. Break tail through rem sts. Pull tight to gather These socks are worked in the round MC. Gusset: Set-up rnd With MC, sts and fasten off on WS. smaller needles, and RS facing, work- • from the cuff down with a heel flap. ing along right edge of heel flap, pick FINISHING The charts are worked using the up and knit 17 (18, 19) sts along edge Weave in ends. Block. stranded method. Always pick up of heel flap, working across heel sts, the background color (MC) over k10 (11, 12), M1, k10 (11, 12), pick up AUD BERGO lives and works in Norway. the pattern color (CC) and pick up and knit 17 (18, 19) sts along edge of heel She has been knitting for more than the pattern color from under the flap—87 (95, 103) sts total: 32 (36, 40) 40 years, but she began writing her background color. Keep floats loose. sts for instep, 55 (59, 63) sts for sole. own patterns only a few years ago. She For floats longer than four stitches, Move first and last sts from sole to loves playing with colors and creating tack stranded yarn on the wrong instep—87 (95, 103) sts: 34 (38, 42) sts accessories; mittens and socks are her side of the work. for instep, 53 (57, 61) sts for sole. Change favorites. Find more of her patterns on to larger needles. Pm and join in the rnd. Ravelry and on Instagram @softdesign.aud. Next rnd Sl 1 pwise wyb, k1 with CC, sl SOCKS Cuff: With CC and smaller needles, CO 66 (74, 82) sts. Place marker (pm) and join in the rnd. Work in k1, p1 rib for 1½\". Leg: Change to larger needles. Next rnd With MC, knit. Next rnd *K1 with CC, pm, beg and ending as SUMMER 2022 28 WWW.INTERWEAVE.COM

LEG INSTEP 45 55 43 53 41 51 39 49 37 47 35 45 33 43 31 41 29 39 27 37 25 35 23 33 21 31 19 29 17 27 OP-ART COLLECTION 15 25 13 23 11 21 9 19 7 17 5 15 3 13 1 11 end end end 7-st rep beg beg beg 9 7 9\" 8\" 7¼\" 7¼\" 8\" 9\" GUSSET 5 21 3 19 17 1 15 end end end 7-st rep beg beg beg 9\" 8\" 7¼\" 7¼\" 8\" 9\" 13 with MC, knit 11 9 with CC, knit 7 with CC, k2tog 5 with CC, ssk 3 pattern repeat 1 2-st rep SUMMER 2022 29 WWW.INTERWEAVE.COM

OP-ART COLLECTION VISUAL TEMPO SHAWL CHART A NATALYA BEREZYNSKA 49 47 Difficulty 45 Yarn Weight 43 Finished Size 78\" wide and 31\" tall at point. 41 Yarn Anzula Luxury Fibers Croquet 39 (50% superwash Merino wool, 50% tussah 37 silk; 230 yd [210 m]/4 oz [113 g]): Avocado, 6 35 skeins. 33 Needles Size 6 (4 mm): 24\" circular (cir). 31 Adjust needle size if necessary to obtain the 29 correct gauge. 27 Notions Tapestry needle. 25 Gauge 26 sts and 33 rows = 4\" in charted 23 patt. 21 19 •NOTES 17 For techniques you don’t know, 15 please visit our online knitting 13 glossary at www.interweave.com 11 9 • /interweave-knitting-glossary. 7 This triangular shawl is worked back 5 and forth from the narrow end to the 3 1 • wider end. 3 sts to 23 sts A circular needle is used to accommodate the large number of stitches. SHAWL CO 3 sts. Work Rows 1–50 of Chart A—23 sts. Work Rows 1–36 of Chart B—36 sts. Work Rows 1–36 of Chart C—50 sts. Work Rows 1–36 of Chart D—63 sts. Work Rows 1–36 of Chart E 11 times—217 sts. Loosely BO all sts in patt. FINISHING Weave in ends. Block to measurements. NATALYA BEREZYNSKA has been knitting since kindergarten. As a knitwear designer, she enjoys creating simple and practical patterns that are a joy to knit and a pleasure to wear. As a person, she loves everything rustic, natural, old, and weathered. Find her designs on Ravelry and on Instagram @natalya1905. SUMMER 2022 30 WWW.INTERWEAVE.COM

CHART B CHART C 14-st rep SUMMER 2022 31 WWW.INTERWEAVE.COM 35 35 33 33 31 31 29 29 27 27 25 25 23 23 21 21 19 19 17 17 15 15 13 13 11 11 9 9 7 7 5 5 3 3 1 1 14-st rep k on RS; p on WS ssk p on RS; k on WS M M1 k1tbl on RS; p1tbl on WS MP M1 pwise k2tog pattern repeat OP-ART COLLECTION

OP-ART COLLECTION SUMMER 2022 32 WWW.INTERWEAVE.COM CHART D 35 CHART E 35 14-st rep 33 14-st rep 33 31 31 29 29 27 27 25 25 23 23 21 21 19 19 17 17 15 15 13 13 11 11 9 9 7 7 5 5 3 3 1 1 k on RS; p on WS ssk p on RS; k on WS M M1 k1tbl on RS; p1tbl on WS MP M1 pwise k2tog pattern repeat

RETINAL TEE •NOTES chart, then work Rows 1–12 of chart OP-ART COLLECTION For techniques you don’t know, 4 (5, 5, 5, 5, 5, 5, 5) times, then work BLAZENKA SIMIC-BORO please visit our online knitting Rows 1–5 of chart once more, ending glossary at www.interweave.com with a RS row—piece measures about Difficulty 19¾ (21½, 21½, 23, 23, 23, 23, 23)\" Yarn Weight • /interweave-knitting-glossary. from CO. Shape neck: Next row (WS) Finished Size 38 (42, 45½, 50½, 54, This tee is worked back and forth Cont in patt, p40 (45, 50, 53, 58, 63, 58, 62½, 66½)\" circumference at in pieces from the bottom up and 69, 74) and place these sts on holder underarm. Tee shown measures 38\"; for left shoulder, BO 20 (20, 20, 26, 26, modeled with 3\" of positive ease. • seamed. 26, 26, 26) sts, purl to end—40 (45, Yarn Lana Grossa Ecopuno The stripes are worked using the in- 50, 53, 58, 63, 69, 74) sts rem for right (72% cotton, 17% Merino wool, tarsia method. Each piece is worked shoulder. Shape right neck: Cont 11% baby alpaca; 235 yd [215 m]/1¾ oz with four balls of yarn at the same in patt, work 1 RS row. At beg of WS [50 g]): #64 Sand (MC), 3 (3, 3, 3, 4, 4, time (one MC and one CC for each rows, BO 4 sts once, then BO 3 sts 4, 4) balls; #16 Black (CC), 2 (2, 3, 3, 3, side), with a separate stripe pattern once—33 (38, 43, 46, 51, 56, 62, 67) sts 3, 4, 4) balls. Yarn distributed by The for the left and right side. Twist the rem. Work 1 RS row. With WS facing, Trendsetter Yarn Group. yarns at the center of the piece (even BO all sts pwise. Shape left neck: Needles Size 6 (4 mm): straight. Size if the color does not change). Return 40 (45, 50, 53, 58, 63, 69, 74) 4 (3.5 mm): 16\" circular (cir). Adjust held left shoulder sts to needle and, needle size if necessary to obtain the BACK with RS facing, rejoin CC. Cont in patt, correct gauge. With MC and larger needles, at beg of RS rows, BO 4 sts once, then Notions Marker (m); stitch holder; CO 100 (110, 120, 132, 142, 152, BO 3 sts once—33 (38, 43, 46, 51, 56, tapestry needle. 164, 174) sts. Work in k1, p1 rib for 12 62, 67) sts rem. Work 2 rows even. With Gauge 21 sts and 30 rows = 4\" in St st rows, ending with a WS row. Change WS facing, BO all sts pwise. on larger needles. to St st. Lower section: Next row (RS) Work section A of Lower chart FRONT DE over 50 (55, 60, 66, 71, 76, 82, 87) sts, Work as for back through lower section. place marker (pm), join MC (see Notes) Upper section: Next row (RS) Beg F and work section B of Lower chart over with Row 1 (7, 7, 1, 1, 1, 1, 1), work sec- C 50 (55, 60, 66, 71, 76, 82, 87) sts. Cont tion A of Upper chart to m, sl m, work in patt until Rows 1–12 of chart have section B of Upper chart to end. Cont FRONT been worked 6 (6, 6, 7, 7, 7, 7, 7) times, in patt through Row 12 of chart, then & then work Rows 1–6 of chart 0 (1, 1, 0, work Rows 1–12 of chart 2 (3, 3, 3, 3, 0, 0, 0, 0) time. Upper section: Next 3, 3, 3) times, then work Rows 1–11 of BACK row (RS) Beg with Row 1 (7, 7, 1, 1, 1, chart once more—piece measures about B 1, 1), work section A of Upper chart to m, sl m, work section B of Upper chart with MC, k on RS, p on WS A to end. Cont in patt through Row 12 of with CC, k on RS, p on WS A: 19 (21, 22¾, 25¼, 27, 29, 31¼, 33¼)\" LOWER B: 13 (13¾, 13¾, 14¼, 14¼, 13½, 13¼, 13¼)\" pattern repeat C: 7¾ (8½, 8½, 9½, 9½, 10¼, 10½, 10½)\" 11 UPPER D: 6¼ (7¼, 8¼, 8¾, 9¾, 10¾, 11¾, 12¾)\" 9 E: 6½ (6½, 6½, 7½, 7½, 7½, 7½, 7½)\" 7 11 F: 3¼\" 5 9 3 7 1 5 3 section B section A 1 section B section A SUMMER 2022 33 WWW.INTERWEAVE.COM

OP-ART COLLECTION 17½ (19, 19, 20¾, 20¾, 20¾, 20¾, 20¾)\" APOLLONIO SHAWL rem. Fasten off last st. Second mitered from CO. Shape neck: Next row (WS) square: With A, CO 40 sts, pm, with RS Cont in patt, p45 (50, 55, 58, 63, 68, RACHEL CLARK facing and working along edge G of first 74, 79) and place these sts on holder mitered square (see diagram), pick up for right front, BO 10 (10, 10, 16, 16, Difficulty and knit 40 sts—80 sts total. 16, 16, 16) sts, purl to end—45 (50, Yarn Weight Row 1 (WS) Knit. 55, 58, 63, 68, 74, 79) sts rem for left Finished Size 48\" wide and 24\" tall Row 2 (RS) With B, knit to 2 sts before front. Left front: Cont in patt, work at center. m, k2tog, sl m, ssk, knit to end—2 sts 1 RS row. At beg of WS rows, BO 4 sts Yarn SweetGeorgia Flaxen Silk DK dec’d. once, then BO 3 sts once—38 (43, 48, (65% silk, 35% linen; 248 yd [226 m]/4 Row 3 Knit. 51, 56, 61, 67, 72) sts rem. Work 1 RS oz [115 g]): Birch (cream; A), Jewel (dark Row 4 With A, knit to 2 sts before m, row. At beg of WS rows, BO 2 sts once, purple; B), and Blood Orange (orange; k2tog, sl m, ssk, knit to end—2 sts dec’d. then BO 1 st 3 times—33 (38, 43, 46, C), 2 skeins each. Row 5 Knit. 51, 56, 62, 67) sts rem. Work 11 rows Needles Size 5 (3.75 mm): 40\" circular Rep last 4 rows 18 more times, then even, ending with a RS row. BO all sts (cir). Adjust needle size if necessary to work Row 2 once more—2 sts rem. pwise. Right front: Return 45 (50, 55, obtain the correct gauge. Next row (WS) With B, k2tog—1 st 58, 63, 68, 74, 79) held right front sts to Notions Markers (m); tapestry needle. rem. Fasten off last st. Third mitered needle. Next row (RS) Picking up CC, Gauge 23 sts and 32 rows = 4\" in St st. square: With A, RS facing, and working BO 4 sts, join MC, knit to end—41 (46, along edge H of first mitered square (see 51, 54, 59, 64, 70, 75) sts rem. Cont in •NOTES diagram), pick up and knit 40 sts, pm, patt, work 1 WS row. Next row (RS) For techniques you don’t know, then CO 40 sts—80 sts total. Beg with BO 3 sts, knit to end—38 (43, 48, 51, please visit our online knitting Row 1, work as for 2nd mitered square. 56, 61, 67, 72) sts rem. Work 1 WS row. glossary at www.interweave.com Stockinette section: With C and RS At beg of RS rows, BO 2 sts once, then facing, pick up and knit 39 sts along side BO 1 st 3 times—33 (38, 43, 46, 51, • /interweave-knitting-glossary. A, pm, 2 sts in corner, pm, 39 sts along 56, 62, 67) sts rem. Work 12 rows even, This three-quarter square shawl side B, 39 sts along side C, pm, 2 sts in ending with a RS row. BO all sts pwise. with rounded corners is worked corner, pm, 39 sts along side D, 39 sts from the center neck down and along side E, pm, 2 sts in corner, pm, FINISHING 39 sts along side F—240 sts total. Next Weave in ends. Block pieces to mea- • outward. row (WS) Purl. Inc row (RS) *Knit to m, surements. Sew shoulder seams. A circular needle is used to accom- yo, sl m, k2, sl m, yo; rep from * 2 more Neckband: With MC, smaller cir modate the large number of stitches. times, knit to end—6 sts inc’d. Rep last needle, and RS facing, beg at left shoul- 2 rows 12 more times—318 sts: 52 sts der seam, pick up and knit 52 (52, 52, SHAWL on each front, 104 sts on each side of 58, 58, 58, 58, 58) sts along front neck First mitered square: With B, back, 2 sts between each pair of m. Purl edge and 30 (30, 30, 36, 36, 36, 36, 36) CO 80 sts. 1 WS row. Break C. Mosaic st section: sts along back neck edge—82 (82, 82, Row 1 (WS) K40, place marker (pm), Set-up row (RS) With B, k52, M1, sl 94, 94, 94, 94, 94) sts total. Pm and knit to end. m, yo, k2, yo, sl m, *k2tog, k100, k2tog, join in the rnd. Work in k1, p1 rib for Row 2 (RS) With A, knit to 2 sts before sl m, yo, k2, yo, sl m; rep from * once 6 rnds. BO all sts in patt. Sew side m, k2tog, sl m, ssk, knit to end—2 sts more, M1, k52—322 sts: 53 sts on each seams, leaving 7¾ (8½, 8½, 9½, 9½, dec’d. front, 102 sts on each side of back, 4 sts 10¼, 10½, 10½)\" unsewn for armholes. Row 3 Knit. between each pair of m. Next row (WS) Armhole bands: With MC, smaller Row 4 With B, knit to 2 sts before m, Knit. Next row With A, *knit to m, sl m, cir needle, and RS facing, beg at center k2tog, sl m, ssk, knit to end—2 sts dec’d. yo, knit to m, yo, sl m; rep from * 2 more of underarm, pick up and knit 4 sts for Row 5 Knit. times, knit to end—328 sts: 53 sts on every 6 rows around armhole opening, Rep last 4 rows 18 more times, then each front, 102 sts on each side of back, making sure to pick up an even number work Row 2 once more—2 sts rem. 6 sts between each pair of m. Next row of sts. Pm and join in the rnd. Work in Next row (WS) With A, k2tog—1 st Knit. Next row With B, *work Row 5 of k1, p1 rib for 6 rnds. BO all sts in patt. Mosaic chart to m, sl m, yo, knit to m, yo, sl m; rep from * 2 more times, work BLAZENKA SIMIC-BORO has been Row 5 of Mosaic chart to end—334 sts: designing and making home décor, 53 sts on each front, 102 sts on each clothes, and accessories for years. She side of back, 8 sts between each pair of has been published in Crochet Now, m. Next row *Work Row 6 of Mosaic The Crochetist, I Like Crochet, Knit Now, chart to m, sl m, knit to m, sl m; rep and Happily Hooked. Find her designs from * 2 more times, work Row 6 of on Ravelry and Instagram, and at Mosaic chart to end. Inc row (RS) *Work www.blagecrochetdesign.etsy.com. Mosaic chart to m, sl m, yo, knit to m, yo, sl m; rep from * 2 more times, work Mosaic chart to end—6 sts inc’d. Cont SUMMER 2022 34 WWW.INTERWEAVE.COM

2En0jo0y+ Allegan County Fairgrounds FREE 150 Douglas Ave, Allegan MI 49010 knitting August 17 – 21, 2022 patterns at Workshops Projects are included in Wednesday – Sunday the 7 Free Knitted Cowl Shopping* Patterns for Women eBook Friday & Saturday 10 – 5 Sunday 10 – 4 Special Events & Competitions Saturday & Sunday 10 – Close www.michiganfiberfestival.info *Allegan Co. Health Dept. COVID recommendations will be followed.* SUMMER 2022 35 WWW.INTERWEAVE.COM

MOSAIC 15 DC 7-st rep 13 1 11 E HG B 9 7 32 5 3 FA 1 OP-ART COLLECTION with A, k on RS with B, k on RS with A, k on WS with B, k on WS sl 1 pwise wyb on RS; sl 1 pwise wyf on WS sl 1 pwise wyb on RS; sl 1 pwise wyf on WS pattern repeat in patt, rep inc row every RS row through Rows 3 and 4 With B, rep Rows 1 and Rows 23 and 24 With B, rep Rows 1 Row 16 of chart, then work Rows 1–16 of 2—562 sts. and 2—610 sts. chart 2 more times—460 sts: 53 sts on Rows 5 and 6 With A, rep Rows 1 and Rows 25 and 26 With A, rep Rows 1 each front, 102 sts on each side of back, 2—568 sts. and 2—616 sts. 50 sts between each pair of m. Next row Rows 7 and 8 With B, rep Rows 1 and With A, loosely BO all sts. (RS) With B, *knit to m, sl m, yo, knit 2—574 sts. to m, yo, sl m; rep from * 2 more times, Row 9 With A, *k1, wrapping yarn FINISHING knit to end—466 sts: 53 sts on each 3 times around needle instead of once; Weave in ends. Block to measurements. front, 102 sts on each side of back, 52 sts rep from * to end. between each pair of m. Next row Knit. Row 10 *K1, dropping all 3 wraps from Since she started knitting a decade ago, Break A and B. Stockinette and garter left needle; rep from * to end. RACHEL CLARK has fallen in love with section: Join C. Rows 11 and 12 With B, rep Rows 1 and knitting as a craft. Inspired by artists Row 1 (RS) *Knit to m, sl m, yo, knit to 2—580 sts. such as Henri Matisse, she aspires to m, yo, sl m; rep from * 2 more times, knit Rows 13 and 14 With A, rep Rows 1 use her knitting to stretch her creativity to end—6 sts inc’d. and 2—586 sts. while maintaining connections with Row 2 (WS) *Purl to m, sl m, knit to m, sl Rows 15 and 16 With B, rep Rows 1 knitting traditions. Rachel lives in Dallas, m; rep from * 2 more times, purl to end. and 2—592 sts. Texas, with her husband, a fellow knitter, Rep last 2 rows 13 more times—550 sts: Rows 17 and 18 Rep Rows 9 and 10. while she pursues a higher degree in 53 sts on each front, 102 sts on each side Rows 19 and 20 With B, rep Rows 1 the humanities. of back, 80 sts between each pair of m. and 2—598 sts. Break C. Rows 21 and 22 With A, rep Rows 1 Triple-wrapped garter section: and 2—604 sts. Row 1 (RS) With A, *knit to m, sl m, M1R, knit to m, M1L, sl m; rep from * 2 more times, knit to end—6 sts inc’d. Row 2 (WS) Knit. SUMMER 2022 36 WWW.INTERWEAVE.COM

COLORWORK VASARELY COWL knit with MC OP-ART COLLECTION 27 QUAYLN STARK 25 knit with CC 23 pattern repeat Difficulty 21 Yarn Weight 19 Finished Size 24¼\" circumference and 17 9¼\" tall. 15 Yarn Rowan Cotton Wool (60% organic 13 cotton, 40% organic Merino wool; 11 142 yd [130 m]/1¾ oz [50 g]): #205 Tiptoe (blue; MC), 2 balls; #209 Nutkin (brown; 9 CC), 1 ball. 7 Needles Sizes 5 (3.75 mm) and 6 (4 mm): 5 16\" circular (cir). Adjust needle size if 3 necessary to obtain the correct gauge. 1 Notions Marker (m); tapestry needle. Gauge 23 sts and 33 rnds = 4\" in color- 20-st rep work patt on larger needle. •NOTES For techniques you don’t know, please visit our online knitting glossary at www.interweave.com • /interweave-knitting-glossary. This cowl is worked in the round from • the bottom up. The chart is worked using the stranded method. Always pick up the background color (MC) over the pat- tern color (CC) and pick up the pattern color from under the background color. Keep floats loose. COWL QUAYLN STARK of QUOE is a With MC and smaller cir needle, freelance crochet and knitwear designer CO 140 sts. Place marker (pm) and join and instructor. Quayln strives to break in the rnd. Work in k2, p2 rib for 10 rnds. the status quo in fashion and trends Change to larger needle. Next rnd Knit. in regard to textile construction and Work Rnds 1–28 of Colorwork chart execution. To learn more about QUOE, 2 times. Break CC and cont with MC visit www.quoe.us or find the Instagram only. Change to smaller needle. Next page @portquoelio. rnd Knit. Work in k2, p2 rib for 10 rnds. BO all sts in patt. FINISHING Weave in ends. Block to measurements. SUMMER 2022 37 WWW.INTERWEAVE.COM

RULE OF ODDS SHAWL TAKAKO TAKIGUCHI OP-ART COLLECTION Difficulty Short-row 4 Purl to end. FINISHING Yarn Weight Short-row 5 With CC (see Notes), k1, Weave in ends. Block to measurements. Finished Size 73\" wide and 34\" tall at M1L, knit to end, working wraps tog with point. wrapped sts—1 st inc’d. TAKAKO TAKIGUCHI is a knitwear Yarn Handmaiden Fine Yarn Sea Short-row 6 Knit. designer who lives in the U.S. She Silk (70% silk, 30% Seacell; 437 yd Rep last 6 short-rows 2 more times—18 sts. has loved knitting for more than 10 [400 m]/3½ oz [100 g]): Kelpie (blue; ** Inc row (RS) With MC, k1, M1L, knit to years, since the birth of her daughter. MC), 2 skeins; Wine (CC), 1 skein. end—1 st inc’d. Next row (WS) Purl. Rep Her inspiration comes from Japanese Needles Size 1½ (2.5 mm): 32\" circular Short-rows 1–6 three times—9 sts inc’d. scenery and landscapes around the (cir). Adjust needle size if necessary to Rep from ** 16 more times—188 sts. With world. Find Takako on Ravelry and obtain the correct gauge. MC, work in k2, p2 rib for 12 rows, ending Instagram @takakoob. Notions Tapestry needle. with a WS row. With RS facing, BO all sts Gauge 18 sts and 24 rows = 4\" in St st. in patt. •NOTES For techniques you don’t know, please visit our online knitting glossary at www.interweave.com • /interweave-knitting-glossary. This triangular shawl is worked back and forth from the narrow end to • the wide end. Do not break yarns at color changes; carry the unused yarn up the side of • the piece. A circular needle is used to accommodate the large number of stitches. SHAWL With MC, CO 3 sts. Knit 1 RS row. Purl 1 WS row. Inc row (RS) K1, M1L, knit to end—1 st inc’d. Cont in St st, rep inc row every RS row 5 more times—9 sts. Purl 1 WS row. Short-row 1 (RS) With MC, k1, M1L, knit to last 4 sts, wrap next st, turn—1 st inc’d. Short-row 2 (WS) Purl to end. Short-row 3 With MC, k1, M1L, knit to 4 sts before wrapped st, wrap next st, turn—1 st inc’d. SUMMER 2022 38 WWW.INTERWEAVE.COM

You love to create... We have your inspiration! Save the date! We will be back in Loveland, CO in 2023 April 12-15, 2023 at the Embassy Suites INTERWEAVE YARNFE ST.COM SUMMER 2022 39 WWW.INTERWEAVE.COM

PAR ALLEL VS. ROTATING FLOATS IN STRANDED COLORWORK PARALLEL vs. ROTATING FLOATS IN STRANDED COLORWORK BY ROXANNE RICHARDSON Many knitting traditions include stranded colorwork, the PHOTO 1 Front of work. technique where two (or more) colors alternate frequently across a row or round of stockinette to produce a pattern. The color (colors) not in use when a stitch is worked is (are) stranded across the back of the piece until needed again. These trailing strands are called “floats.” Even though the floats won’t be seen on the right side of the piece, the way they are managed can affect the appearance of the fabric. There are two basic methods for handling floats when working stranded colorwork: parallel floats and rotating floats. Traditional Fair Isle and Swedish twined knitting have specific rules about which stranding method to use, in addition to restricting how frequently the colors should be alternated, and even how many colors can be used in a single round. But for most other knitting traditions (and for nontraditional patterns), it is left up to knitters to decide which stranding method will work best for their own projects. In this article, we explore the use of parallel floats and rotating floats in two-color stitch patterns to see how the processes and results differ. PARALLEL VS. ROTATING FLOATS: WHAT’S THE DIFFERENCE? Photo 1 shows two rows of alternating blue and orange stitches. PHOTO 2 Back of work. The lower row was worked using parallel floats, and the upper row was worked using rotating floats. Notice how the blue stitches in the lower row are larger than the orange stitches, while the stitches in the upper row are all the same size. If we turn the swatch over (Photo 2), we can see that the floats on the lower row are parallel to each other, with the blue floats running under the orange floats SUMMER 2022 40 WWW.INTERWEAVE.COM

PAR ALLEL VS. ROTATING FLOATS IN STRANDED COLORWORK FIGURE 1 Parallel Floats. HOLDING ONE YARN IN EACH HAND FIGURE 2 Rotating Floats, Right-Leaning. When holding one color in each hand, the dominant color should be held in the left hand and the nondominant color should be held in the right hand. In Photo 3, the blue yarn over the left index finger is dominant and the orange yarn over the right index finger is nondominant. HOLDING BOTH YARNS IN THE LEFT HAND When holding both yarns in the left hand, it may be easier to use two fingers to keep the strands separated, placing the dominant color over the index finger and the nondominant color over the middle finger (Photo 4). If you prefer to place both yarns over the index finger, make sure to keep the yarns in position, with the dominant yarn below the nondominant yarn. HOLDING BOTH YARNS IN THE RIGHT HAND When holding both yarns in the right hand, place the dominant color over the middle finger and the nondominant color over the index finger (Photo 5). FIGURE 3 Rotating Floats, Left-Leaning. PHOTO 3 Holding one yarn in each hand. PHOTO 4 Holding both yarns in the left hand. (Figure 1). The blue stitches on the lower row are larger than the orange stitches because the distance from the base to the top of a blue stitch is longer than it is for an orange stitch. In this case, we would say that the blue yarn is the “dominant” color. (Color dominance refers to the effect that the slightly larger stitches have on the appearance of the stitch pattern, not to the number of stitches that are knitted with that color.) Now notice how the floats on the upper row all lie at an angle. The floats on the right-hand side of the swatch slant to the right because when the right-side row was worked, the yarn that was used to knit each new stitch went over the yarn that emerged from the preceding stitch (Figure 2). The floats on the left-hand side of the swatch slant to the left because the yarn that was used to knit each new stitch went under the yarn that emerged from the preceding stitch (Figure 3). Since all the floats are handled in the same way, there is no single dominant color and the stitches are uniform in size. HANDLING THE YARN FOR PARALLEL FLOATS There are three main ways to manage the yarn for working parallel floats with two colors: by holding one yarn in each hand, by holding both yarns in the left hand, and by holding both yarns in the right hand. There are endless variations, depending on individual knitting style. However, it is important that the dominant color is always worked so that it is lower than the nondominant color. The yarns should never twist around each other. (One advantage of working parallel floats is that you won’t need to stop and untwist yarns and can work uninterrupted.) PHOTO 5 Holding both yarns in the right hand. SUMMER 2022 41 WWW.INTERWEAVE.COM

PAR ALLEL VS. ROTATING FLOATS IN STRANDED COLORWORK PHOTO 6 Changing the direction of the twist mid-round. (Photo 6). However, this may also present some challenges. Recently, I knitted Christmas stockings for my daughter and her PHOTO 7 Holding both yarns in the right hand, boyfriend, and I decided to use rotating floats instead of the parallel right-slanting floats. floats that I would normally use. I found that when I worked with both yarns in my left hand and worked left-slanting floats to the PHOTO 8 Holding both yarns in the left hand, midpoint, it was difficult to switch to picking up the new yarn left-slanting floats. above the old yarn to work the right-slanting floats. So, I ended up using my right hand to hold both yarns and work right-slanting HANDLING THE YARN FOR ROTATING FLOATS floats for the first part of the round, and then moved both yarns to my left hand to work left-slanting floats for the second part of How you manage the yarns when working rotating floats will the round. depend a lot on your personal knitting style, as well as your toler- ance for having to stop occasionally to untwist the working yarns. HOLDING BOTH YARNS IN THE RIGHT HAND FOR Rotating floats that twist in only one direction will result in the RIGHT-SLANTING FLOATS working yarns twisting around each other, and it will be necessary When it’s time to switch colors, pick up the new color and bring to untwist them at some point when the yarns get too tangled. it up over the old color (Photo 7). This rotates the yarns in the To do this, knitters sometimes hold up the working yarns and let counterclockwise direction (as viewed from the right side of the the project rotate until the yarns are no longer twisted. An alterna- piece) and the floats will angle to the right on the back of the work. tive to the dangling method is to change the direction of the floats at the midpoint of the round so that the last part of the round HOLDING BOTH YARNS IN THE LEFT HAND FOR untwists the yarns that were twisted in the first part of the round. LEFT-SLANTING FLOATS For example, you can work the first part of the round by bringing When it’s time to switch colors, pick up the new color from under the new yarn over the old yarn at each color change until you reach the old color (Photo 8). This twists the colors together in the the midpoint of the round, then work the remainder of the round clockwise direction. The floats will angle to the left on the back by bringing the new yarn under the old yarn at each color change of the work. TWO HANDS, TWO TENSIONS—DIFFERENT RESULTS Knitters who hold a color in each hand and have a looser tension when they knit with one hand as opposed to the other may notice an even greater difference in stitch size than usual between the dominant and nondominant yarns when knitting with parallel floats. Or when using rotating floats, they may notice that the stitches are larger when rotating with one hand as opposed to the other. As with all knitting techniques, results will improve with practice, but it is also important to remember that there are choices. A knitter might either choose to practice until consistent tension is achieved with both hands or choose to always knit with both yarns in their preferred hand, in order to get the expected and desired result. COMPARISON OF METHODS Let’s look at several stranded colorwork patterns to see how the choice of technique affects the results. In Photo 9, we have three bands of a common lice pattern found in many knitting traditions. The bottom band uses parallel floats, with the white yarn held dominant, causing those stitches to be slightly larger than the blue background stitches. The center band uses rotating floats, which keeps the stitches the same size. The top band uses parallel floats with the blue background dominant, causing the white stitches to be slightly smaller. The bottom band is an example of how a lice pattern would be worked in traditional Fair Isle knitting, but either of the other two could be used in stranded colorwork that was not intended to represent the Fair Isle tradition, based on the knitter’s preferences. In Photo 10, we have three bands with a blue background and white foreground, followed by an orange-and-white check pattern. SUMMER 2022 42 WWW.INTERWEAVE.COM

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PAR ALLEL VS. ROTATING FLOATS IN STRANDED COLORWORK PHOTO 9 Comparison of three stranding methods in a PHOTO 10 Comparison of three stranding methods in a lice pattern. colorwork pattern. In the bottom band, parallel floats were used, with the white The top band was worked with rotating floats. The first two dominant. Notice how the pattern appears to come forward and rows of the check pattern were worked entirely with rotating floats the blue background appears to recede. held in the right hand. The next four rows of the check pattern were worked so that the first half of each row was rotated with The middle band is worked in parallel floats with the white the right hand, and the second half rotated with the left hand, in nondominant for both the blue and white band as well as the order to untwist the yarns, as shown in Photo 6. orange-and-white check pattern. There is a visible difference between the two blue and white bands knitted with parallel floats. As we have seen, the stranding method you use will have an effect on the appearance of the color pattern. So, unless your When swatching with parallel floats, decide beforehand which colorwork pattern requires a traditional stranding method, feel color you prefer to be dominant, and then maintain that dominance free to experiment in your next project with both parallel and throughout the project. An occasional stray row with dominance rotating floats to decide which effect you prefer. switched isn’t usually a problem. I made a deliberate error in the row marked by an arrow, switching dominance for that row from ROXANNE RICHARDSON is a certified master handknitter blue to white. The result of the one-row change is subtle, but in who lives, designs, and teaches in Minneapolis,Minnesota. some stitch patterns—and with higher contrast colors—the result Find her weekly videos on YouTube at www.youtube.com/user/ could be very noticeable. roxmpls. The check pattern has no foreground or background. The color dominance is noticeable but doesn’t have as striking of an effect as with an obvious foreground/background pattern. SUMMER 2022 44 WWW.INTERWEAVE.COM

WOOL STUDIO VOL. X IS HERE! Explore a pattern collection of knits inspired by architecture. Each pattern is full of color, texture, and character that you’ll fall in love with. You’ll find your next favorite project in this stunning new collection of pullovers, cardigans, shawls, and wraps! TAKE A LOOK AT INTERWEAVE.COM Wool Studio Vol. X is sponsored by:

Backstory Discover the places that inspired impressionist painters in a collection that uses the back of the garment as the main canvas. These tops and tees feature romantic lace treatments and captivating cables.

ARGENTEUIL TOP NADYA STALLINGS Édouard Manet and others often found inspiration in Argenteuil, France. With its quintessential landscapes dotted with gardens, bridges, and river views, it was one of the most-painted regions by impressionist painters. In the Argenteuil Top, a field of reverse stockinette stitch highlights an impressive openwork and traveling-stitch panel. YARN Plymouth Yarn Cuzco Cashmere PATTERN Page 57 SUMMER 2022 47 WWW.INTERWEAVE.COM

MORISOT TEE SUSANNA IC Called one of the “grande dames” of impressionism, Berthe Morisot often painted domestic scenes of family, children, women, and flowers depicting life in the late-nineteenth century. The Morisot Tee features an elegant panel of lace in the center of the back. This tee is worked from the bottom up in two pieces. The side body detail wraps the armhole for an added bit of interest. YARN Purl Soho Sweetgrass PATTERN Page 60 SUMMER 2022 48