This chapter offers a selection of stitches that produce a wide range of effects, both in the way the colors appear and in the fabric created. It also introduces a variety of techniques for stitch manipulation. You’ll find sections on slipped stitches, extra wraps, outlined blocks of color, swapping stitches and twists, working into previous rows, manipulating strands, chevrons and ripples, picots, and bobbles. Once you are familiar with these techniques, you can experiment and create your own pattern stitches by changing their placement on the fabric (make them closer together or farther apart) and in relation to the color changes (on the same row as the new color or at another point). If you want them larger, try expanding them over more stitches or rows; if you want them smaller, do the opposite. Like everything in knitting, pattern stitches are open to many variations. (For additional stitch resources, see here.)
Slipping stitches is one of the simplest knitting techniques, but it offers so many variations that it was difficult to decide what to include in this chapter. I’ve selected slip stitch patterns that showcase many possible uses and results. You’ll find a range of smaller and larger patterns, so you can choose the scale you want for whatever you’re making and achieve a variety of effects.
More than a few slipped stitches in the knitted fabric tend to make it tighter and less stretchy. The thicker and denser the fabric, the more yarn it takes to complete your project. Some slipped-stitch fabrics are so tight and have so little stretch that they aren’t appropriate for sweaters, but they may be perfect for potholders and placemats. You can control these properties using your needle size. For a stretchy, less dense fabric, use bigger needles; for a tighter, inelastic fabric, use smaller ones. Beware of using too-small needles, however, because you may find it impossible to work the pattern so tightly. As always, it makes sense to experiment to find the best needle size for your project.
There are two completely separate elements to slipping stitches: how you insert your needle and where you hold your yarn while you do it. Stitches can be slipped purlwise or knitwise. In some instructions you’ll see the phrases “as if to purl” or “as if to knit,” which mean exactly the same as “purlwise” and “knitwise.”
Slipping purlwise. If the instructions don’t specify which way to insert your needle, do it purlwise. After working the stitch on the next row, take a look at the results to see if it looks the way you intended. If the stitch has been manipulated so it’s now twisted but it shouldn’t be, then you’ll know it should have been slipped knitwise instead of purlwise. In all the instructions in this chapter, the stitches are slipped purlwise. To slip purlwise, insert your needle through the back of the stitch, just as if you were about to purl it, but rather than purl the stitch, slip it from the left needle onto the right one.
Slipping knitwise. Needles can also be inserted knitwise into the front of the stitch, just as if you were about to knit it. Slipping the stitch knitwise rotates it a half-turn, so it ends up on the right needle facing the opposite direction. If this stitch is knit or purled normally on the next row, it will be twisted. There are occasions in which you might twist a stitch intentionally, but when following pattern instructions, don’t do it — in other words, don’t slip knitwise unless explicitly told to do so. To slip knitwise, insert your needle in the stitch as if you were about to knit, then slip it from the left needle to the right needle.
Positioning your yarn. Yarn can be held either in front of or in back of your work. The yarn is held in back when you knit and in front when you purl, but when you slip a stitch, it may be in either position. Knitting instructions frequently use the abbreviations wyif and wyib, which stand for “with yarn in front” and “with yarn in back.” What does this mean? “Front” is the side facing you on this particular row, and “back” is away from you. These are different from the right side and wrong side of the fabric.
Make sure your yarn is in the correct position before and after you slip the stitch. Keep in mind that you may not need to move it at all. For example, if you’re purling the stitch before and after, and the instructions say to slip wyif, the yarn is already in front of your work when you finish the preceding stitch, and it’s already in the correct position to purl the following stitch. But if you are knitting the stitch before and after and are told to slip wyif, you knit the preceding stitch, bring the yarn to the front between the two needles, slip the next stitch, bring the yarn to the back between the two needles, then knit the third stitch.
Some instructions use the abbreviations yb and yf. These mean “yarn back” and “yarn front.” Instead of telling you the position of the yarn while the stitch is slipped and forcing you to use your wits to move it as necessary, these instructions tell you exactly how and when to move it. For example, the following abbreviations actually mean the same thing:
K1, slip 1 wyif, K1
K1, yf, slip 1, yb, K1
The instructions in this book assume that you knit the “standard” way, which means that your stitches are on the knitting needle with the leading leg (the one attached to the strand that travels from the left needle point to the right needle point) in front of the needle. If your stitches are on the needle the opposite way, either all the time or only after purling, then you may need to adjust the directions to achieve the desired results.
When slipping and working decreases, be particularly careful that the stitches face the correct direction and the decreases slant in the correct direction. If you work from left to right across the row, rather than from right to left, you’ll need to reverse all the directions that refer to left and right.
STANDARD STYLE. The leading leg (circled) is normally in front on the left-hand needle.
Tiny purl bumps of the contrasting color nestle in diamonds of the main color. Even though a high proportion of stitches are slipped, Waffle Check is still surprisingly light, stretchy, and fluffy. It doesn’t curl since it’s based on garter stitch, which is knit on every row, so it’s a good choice for sweaters, hats, scarves, or household items like placemats.
IN C1, CAST ON.
ROW 1 (WS): In C1, knit.
ROW 2: In C2, K1, * Sl1 wyib, K1; repeat from *.
ROW 3: In C2, *K1, Sl1 wyif; repeat from *, end K1.
ROW 4: In C1, knit.
ROW 5: In C1, knit.
ROW 6: In C2, K1, *K1, Sl1 wyib; repeat from *, end K2.
ROW 7: In C2, K2, *Sl1 wyif, K1; repeat from *, end K1.
ROW 8: In C1, knit.
All of the instructions in this chapter assume you are working back and forth in flat knitting. To work in circular knitting, convert the wrong-side rows into right-side rows. When you do this, all knits become purls and vice versa. Slip stitches purlwise or knitwise as in the original pattern, but hold the yarn in the opposite position on the rows that were originally wrong-side rows. If there are edge stitches that center the pattern on flat knitting, delete them so the pattern repeats seamlessly around. You may find it easier to just read from the charts without rewriting the instructions for the wrong-side rows, but remember to work these rows from right to left. Circular Waffle Check is an example of a converted pattern.
Some pattern stitches are not easily converted from flat to circular knitting. For example, when there is a psso instruction on a wrong-side row, the stitch passed over travels from left to right on the right side of the fabric. If this is done on a wrong-side row, it will travel in the opposite direction. The result may still be acceptable, but it will not be identical to the original and, if some sections of a garment are worked flat and others circularly, the difference will be quite noticeable.
The chart and directions below have been rewritten for circular knitting.
IN C1, CAST ON.
ROUND 1: In C1, purl.
ROUND 2: In C2, *Sl1 wyib, K1; repeat from *.
ROUND 3: In C2, *Sl1 wyib, P1; repeat from *.
ROUND 4: In C1, knit.
ROUND 5: In C1, purl.
ROUND 6: In C2, *K1, Sl1 wyib; repeat from *.
ROUND 7: In C2, *P1, Sl1 wyib; repeat from *.
ROUND 8: In C1, knit.
This pattern looks quilted, but it’s actually formed by cleverly slipping first the contrast color to form the lattice, then the main color to form the diamonds. Two-Tone Lattice has good definition even when knitted loosely, so it is an excellent choice when you want a soft stretchy fabric but a well-defined pattern.
IN C1, CAST ON.
SETUP ROW (WS): In C1, knit.
ROW 1 (RS): In C2, K1, Sl1 wyib, *K4, Sl2 wyib; repeat from *, end K4, Sl1, K1.
ROW 2: In C2, P1, Sl1 wyif, P4, *Sl2 wyif, P4; repeat from *, end Sl1, P1.
ROW 3: In C1, repeat Row 1.
ROW 4: In C1, K1, Sl1 wyif, K4, *Sl2 wyif, K4; repeat from *, end Sl1, K1.
ROW 5: In C2, K3, *Sl2 wyib, K4; repeat from *, end Sl2, K3.
ROW 6: In C2, P3, *Sl2 wyif, P4; repeat from *, end Sl2, P3.
ROW 7: In C1, repeat Row 5.
ROW 8: In C1, K3, *Sl2 wyif, K4; * repeat from *, end Sl2, K3.
Knit with just two colors, Three-and-One Stitch produces nubbly ribs. It can be confusing until you realize you’re working garter stitch, so every row is knitted, but you are always holding the yarn on the wrong side of the fabric while slipping. Each color is used alternately for two rows. Worked in a fine yarn with colors that are close in value, it will produce more blending. It doesn’t curl at all, even at the corners. Worked tightly, it’s perfect for collars or placemats because it will hold its shape.
IN C1, CAST ON.
ROW 1 (RS): In C2, K3, *Sl1 wyib, K3; repeat from *.
ROW 2: In C2, *K3, Sl1 wyif; repeat from *, end K3.
ROW 3: In C1, K1, *Sl1 wyib, K3; repeat from *, end Sl1, K1.
ROW 4: In C1, K1, *Sl1 wyif, K3; repeat from *, end, Sl1, K1.
A nubbly tweed fabric with L-shaped spots of each color, Triple-L Tweed will vary in appearance, depending on the values of the three colors you choose. So that the pattern stitch itself will be noticeable, choose a very light, a medium, and a very dark color. For a more subtle effect, choose colors closer in value. When changing colors, work the new one firmly to prevent flaring along the right edge.
IN C1, CAST ON.
SETUP ROW (WS): In C1, knit.
ROW 1 (RS): In C2, K3, *Sl1 wyib, K2; repeat from *, end K1.
ROW 2: In C2, K3, *Sl1 wyif, K2; repeat from *, end K1.
ROW 3: In C3, *K2, Sl1 wyib; repeat from *, end K1.
ROW 4: In C3, K1, *Sl1 wyif, K2; repeat from *.
ROW 5: In C1, K1, *Sl1 wyib, K2; repeat from *.
ROW 6: In C1, *K2, Sl1 wyif; repeat from *, end K1.
This is simply Linen Stitch worked in three colors, using each for just one row at a time. Improbably, the slipped stitches line up with the strands that cross the face of the fabric three rows later, to form tiny triangular dots. For all of the colors to be equally visible, it’s important to choose a dark, a medium, and a light color to ensure good contrast. The fabric produced behaves like a true woven fabric, is extremely flat, and doesn’t curl. Here are some tips to make this more pleasant to knit:
IN C1, CAST ON.
SETUP ROW (WS): In C1, purl.
ROW 1 (RS): In C2, K1, *Sl1 wyif, K1* repeat from *.
ROW 2: In C3, K1, P1, *Sl1 wyib, P1* repeat from *, end K1.
ROW 3: In C1, repeat Row 1.
ROW 4: In C2, repeat Row 2.
ROW 5: In C3, repeat Row 1.
ROW 6: In C1, repeat Row 2.
NOTE: For project using this stitch pattern, see Windowpane Bag
Worked in three shades of one color, using the medium shade as C1, it produces the effect of gingham. Notice that this color is used only one row at a time, first purling across on the wrong side, then, after two rows of another color, knitting across on the right side.
IN C1, CAST ON.
ROW 1 (WS): In C1, purl.
ROW 2: In C2, K1, Sl1 wyib, *K2, Sl2 wyib; repeat from *, end K2, Sl1, K1.
ROW 3: In C2, P1, Sl1 wyif, P2, *Sl2 wyif, P2; repeat from *, end Sl1, P1.
ROW 4: In C1, knit.
ROW 5: In C3, P2, Sl2 wyif, *P2, Sl2 wyif; repeat from *, end P2.
ROW 6: In C3, K2, *Sl2 wyib, K2; repeat from *.
This pattern stitch looks like little flowers. For the flowers to be visible, use colors very different in value and use the dark color as the background (C2). Notice that the stitches increase on Rows 1 and 5, then return to their original number on Rows 3 and 7. When blocking, do not stretch horizontally, or the foreground pattern will be broken up.
IN C1, CAST ON.
ROW 1 (RS): In C1, K2, *[K1, yo, K1] in next stitch, K3; repeat from *, end last repeat K2 instead of K3.
ROW 2: In C2, P2, *Sl3 wyif, P3; repeat from *, end last repeat P2 instead of P3.
ROW 3: In C2, K1, *K2tog, Sl1 wyib, ssk, K1; repeat from *.
ROW 4: In C1, P4, *Sl1 wyif, P3; repeat from *, end P1.
ROW 5: In C1, K4, *[K1, yo, K1] in next stitch, K3; repeat from *, end K1.
ROW 6: In C2, P4, *Sl3 wyif, P3; repeat from *, end P1.
ROW 7: In C2, K3, *K2tog, Sl1 wyib, ssk, K1; repeat from *, end K2.
ROW 8: In C1, P2, *Sl1 wyif, P3; repeat from *, end last repeat P2 instead of P3.
Slipped stitches create a slightly rippled fabric, carrying each color up into the next stripe. They also make the fabric narrower and less stretchy horizontally than stockinette worked on the same number of stitches.
IN C1, CAST ON.
SETUP ROW (WS): In C1, purl.
ROW 1 (RS): In C1, K1, *Sl3 wyib, K1; repeat from *.
ROW 2: In C1, P2, *Sl1 wyif, P3; repeat from *, end Sl1, P2.
ROW 3: In C1, knit.
ROW 4: In C1, purl.
ROWS 5–8: In C2, repeat Rows 1–4.
ROWS 9–12: In C3, repeat Rows 1–4.
This pleasant pattern is a striped garter stitch, broken up by a slipped-stitch pattern. As with garter stitch, it doesn’t curl and the fabric is thicker and wider than stockinette. It must be stretched during blocking so that the dots within the windowpanes are visible.
IN C1, CAST ON.
ROW 1 (RS): In C2, K1, *Sl1 wyib, K1; repeat from *.
ROW 2: In C2, *P1, Sl1 wyif; repeat from *, end P1.
ROWS 3–4: In C1, knit.
ROWS 5–6: In C2, knit.
ROWS 7–8: In C1, knit.
Simple stockinette stripes are broken up by a slipped stitch of the previous color pulled up across the next 4-row stripe. Like stockinette stitch, this pattern curls and requires a border.
IN C1, CAST ON.
ROW 1 (WS): In C1, purl.
ROW 2: In C2, K3, *Sl1 wyib, K3; repeat from *.
ROW 3: In C2, *P3, Sl1 wyif; repeat from *, end P3.
ROW 4: Repeat Row 2.
ROW 5: In C2, purl.
ROWS 6–8: In C1, repeat Rows 2–4.
Slipping stitches on the wrong-side rows forms longer strands of the yarn on the right side, and changing colors every two rows produces clear stripes, in spite of the texture of the pattern stitch. Since this pattern is based on garter stitch, it produces a thick fabric that doesn’t curl. It’s not even necessary to block it.
IN C1, CAST ON.
ROW 1 (RS): In C1, knit.
ROW 2: In C1, K1, *Sl1 wyib, K1; repeat from *.
ROW 3: In C2, knit.
ROW 4: In C2, K2, *Sl1 wyib, K1; repeat from *, end last repeat K2.
ROW 5: In C1, knit.
ROW 6: In C1, K1, *Sl1 wyib, K1; repeat from *.
ROW 7: In C3, knit.
ROW 8: In C3, K2, *Sl1 wyib, K1; repeat from *, end last repeat K2.
ROW 9: In C4, knit.
ROW 10: In C4, K1, *Sl1 wyib, K1; repeat from *.
ROW 11: In C3, knit.
ROW 12: In C3, K2, *Sl1 wyib, K1; repeat from *, end last repeat K2.
This looks like a vertical cousin of Windowpane Stripes, but since it’s based on stockinette stitch, it will curl unless provided with borders. To make the stripes neater, stretch it vertically while blocking.
IN C1, CAST ON.
SETUP ROW (WS): In C1, purl.
ROW 1 (RS): In C2, K1 *Sl1 wyib, K1, Sl1 wyib, K3; repeat from *, end last repeat with K1.
ROW 2: In C2, K1, *Sl1 wyif, K1, Sl1 wyif, P3; repeat from *, end [Sl1 wyif, K1] twice.
ROW 3: In C1, K1, *K3, Sl1 wyib, K1, Sl1 wyib; repeat from *, end K4.
ROW 4: In C1, K1, *P3, Sl1 wyif, K1, Sl1 wyif; repeat from *, end P3, K1.
Outlined blocks of color can be a challenge in knitting, but simple slipped-stitch techniques make it easy to draw shapes in one or more colors against a solid background.
In this very satisfying but easy to execute pattern, C1, the mortar, outlines C2, the bricks. If your bricks aren’t rectangular, you may need to gently block them horizontally to whip them into shape.
IN C1, CAST ON.
ROW 1 (RS): In C1, knit.
ROW 2: In C1, knit.
ROW 3: In C2, K1, *Sl1 wyib, K3; repeat from *, end Sl1, K1.
ROW 4: In C2, P1, *Sl1 wyif, P3; repeat from *, end Sl1, P1.
ROWS 5–6: In C1, knit.
ROW 7: In C2, K3, *Sl1 wyib, K3; repeat from *.
ROW 8: In C2, P3, *Sl1 wyif, P3; repeat from *.
Garter stitch chains of the contrast colors snake across the smooth main-color background. This is a great way to showcase a small amount of a cherished yarn or set off a heavily textured yarn. For a more subtle effect, use yarns that are similar in color.
IN C1, CAST ON.
ROW 1 (RS): In C1, knit.
ROW 2: In C1, purl.
ROWS 3–4: In C2, knit.
ROW 5: In C1, K6, *Sl2 wyib, K6; repeat from *.
ROW 6: In C1, P6, *Sl2 wyif, P6; repeat from *.
ROW 7: In C2; repeat Row 5.
ROW 8: In C2, knit.
ROWS 9–10: In C1; repeat Rows 1–2.
ROWS 11–12: In C3, knit.
ROW 13: In C1, K2, *Sl2 wyib, K6; repeat from *, end Sl2, K2.
ROW 14: In C1, P2, *Sl2 wyif, P6; repeat from *, end Sl2, P2.
ROW 15: In C3; repeat Row 13.
ROW 16: In C3, knit.
If you’ve ever wanted to knit chicken wire, this is the way to do it! Garter stitch hexagons outline the background color. You’ll notice that this is really a variation of Chain Stripes, except that the garter-stitch chains are all the same color and, because there’s no background separating them, the chains are thicker. To turn the naturally occurring rectangles into hexagons, block and stretch the fabric.
IN C1, CAST ON.
ROW 1 (RS): In C1, knit.
ROW 2: In C1, knit.
ROW 3: In C2, K2, *Sl2 wyib, K6; repeat from *, end Sl2, K2.
ROW 4: In C2, P2, *Sl2 wyif, P6; repeat from *, end Sl2, P2.
ROWS 5–8: Repeat Rows 3–4 twice.
ROWS 9–12: In C1, knit.
ROW 13: In C2, K6, *Sl2 wyib, K6; repeat from *.
ROW 14: In C2, P6, *Sl2 wyif, P6; repeat from *.
ROWS 15–18: Repeat Rows 13–14 twice.
ROWS 19–20: In C1, knit.
Two different-colored lozenges, outlined by a third color, float on a contrasting background. Slipping stitches and working only one color at a time is much easier than achieving the same effect in intarsia.
The background color (C1) is used two rows at a time, starting from the right edge (right side, then wrong side). The two contrasting colors (C3 and C4) are worked from the left edge, two rows at a time (wrong side, then right side). The outline color (C2) is worked only one row at a time, back and forth between the other yarns.
IN C1, CAST ON.
ROW 1 (RS): In C1, knit.
ROW 2: In C1, purl.
ROW 3: In C2, K1, *Sl2 wyib, K8; repeat from *, end Sl2, K1.
ROW 4: In C3, P1, Sl3 wyif, *P6, Sl4 wyif; repeat from *, end P6, Sl3, P1.
ROW 5: In C3, K1, Sl3 wyib, *K6, Sl4 wyib; repeat from *, end K6, Sl3, K1.
ROW 6: In C2, P1, *Sl2 wyif, P8; repeat from *, end Sl2, P1.
ROW 7: In C1, knit.
ROW 8: In C1, purl.
ROW 9: In C2, K6, *Sl2 wyib, K8; repeat from *, end Sl2, K6.
ROW 10: In C4, P5, *Sl4 wyif, P6; repeat from *, end Sl4, P5.
ROW 11: In C4, K5, *Sl4 wyib, K6; repeat from *, end Sl4, K5.
ROW 12: In C2, P6, *Sl2 wyif, P8; repeat from *, end Sl2, P6.
Extra wraps around the needle when knitting or purling add extra yarn to selected stitches. On following rows, the extra wraps can be dropped to make taller stitches, which are sometimes left loose and sometimes pulled up vertically or horizontally across the face of the fabric. The extra height of these stitches allows them to stretch and other stitches to be slipped without distorting the fabric and making it denser. You’ll need to know the following basic techniques to work these stitches.
Yarn over. Extra wraps are sometimes made between stitches, simply by working several yarn overs. Wrap the yarn around the needle once for each yarn over.
Wrapping the yarn twice around the needle. You’ll see this instruction for both knit and purl stitches. Instructions may call for wrapping the yarn three or even four times around the needle. Insert your needle into the stitch as usual, wrap (or pick) the yarn once as usual, wrap (or pick) it a second time (A). Draw the double wrap through the old stitch to form a new one, then slide the old stitch off the left needle (B).
Dropping the extra wraps. A stitch with extra wraps is connected to the stitch below it by a vertical strand at its beginning and end, just like a normal stitch. In between, the extra wraps hug the needle tightly. To drop the extra wraps when knitting, purling, or slipping a stitch, insert the needle between the two vertical strands and work it as you normally would (C). When you slide the stitch off the needle, the extra wraps drop naturally, without any extra effort on your part.
Dropped yarn overs alone, in a sea of garter stitch, form this lacy wave pattern. Yarn overs on Rows 3 and 7 increase the number of stitches dramatically, but all of these are dropped on the following row, returning to the original stitch count. C1 forms the ridges between the waves of C2. Since it’s based on garter stitch, the fabric won’t curl, so it’s wonderful for lacy scarves and shawls.
Use a needle small enough to knit the garter stitch ridges at a normal gauge; resist the urge to use a larger needle, or the waves will be ill-defined. You’ll need to stretch the loops to their fullest extent during blocking to even out the waves and flatten the fabric.
IN C1, CAST ON.
ROW 1 (RS): In C1, knit.
ROW 2: In C1, knit.
ROW 3: In C2, K6, *yo twice, K1, yo 3 times, K1, yo 4 times, K1, yo 3 times, K1, yo twice, K6; repeat from *.
ROW 4: In C2, knit, dropping all yarn overs.
ROWS 5–6: In C1, knit.
ROW 7: In C2, K1, *yo twice, K1, yo 3 times, K1, yo 4 times, K1, yo 3 times, K1, yo twice, K6; repeat from *, end last repeat K1 instead of K6.
ROW 8: In C2, knit, dropping all yarn overs.
Contrast and texture work together to create depth in the pattern stitch. You’ll need three colors with distinct contrast: a light, a medium, and a dark. Use the light color for the C1 frames, the dark color for C2 to create the shadow that lines two sides of the frame, and the medium color for C3.
As you work, notice that the yarn is always held on the wrong side of the fabric while slipping stitches and that, while the rest is worked in garter stitch, the second row of C3, with the exception of the first and last stitches, is purled on the wrong side to create stockinette stitch. The large proportion of garter stitch prevents curling, however blocking and stretching slightly will open up the boxes to show off C3.
IN C1, CAST ON.
ROW 1 (RS): In C1, knit.
ROW 2: In C1, K1, *K1, wrapping the yarn twice around the needle, K3; repeat from *, end last repeat K1 instead of K3.
ROW 3: In C2, K1, *Sl1 wyib, dropping the extra wrap, K3; repeat from *, end last repeat K1 instead of K3.
ROW 4: In C2, K1, *Sl1 wyif, K3; repeat from *, end Sl1, K1.
ROW 5: In C3, K1, *Sl2 wyib, K2; repeat from *, end Sl1, K1.
ROW 6: In C3, K1, Sl1 wyif, *P2, Sl2 wyif; repeat from *, end K1.
Working the stitches on the left needle out of order, or rearranging them before they are knit, has the same effect as rearranging stitches using a cable needle. In combination with colored stripes and extra wraps, they incorporate contrasting cables or surface decoration into the knitted fabric. Twists are tiny two-stitch cables, made without cable needles and without removing the stitches from the needle until both stitches have been worked.
Since these small cables have a garter stitch stripe background, the fabric doesn’t curl. Slipping the cable stitches when working with the contrasting background yarn makes them a solid color. This pattern stitch is successful when worked either firmly or loosely. The cables, however, are more easily worked in a loose fabric.
IN C1, CAST ON.
ROW 1 (RS): In C1, K1, *right twist, K3; repeat from *, end right twist, K1.
ROW 2: In C1, K1, P2, *K3, P2; repeat from *, end K1.
ROW 3: In C2, K1, *Sl2 wyib, K3; repeat from *, end Sl2 wyib, K1.
ROW 4: In C2, K1, Sl2 wyif, *K3, Sl2 wyif; repeat from *, end K1.
Drop a stitch off the needle, slip stitches to get them out of the way, then replace the dropped stitch on the needle in a different position. Don’t worry about the stitches unraveling while you do this — as long as you don’t stretch the knitting horizontally before placing the stitches back on the needle. To create different effects, the specific steps may vary, so follow each pattern’s instructions exactly.
C2 forms the background and C1 the contrasting wings that cross the fabric. The best effect will be achieved by using a dark color for C2 and a lighter color for C1. Two colors of fine yarn with less contrast will create a blended effect. See chart for right and left swap directions.
IN C1, CAST ON.
ROW 1 (WS): In C1, K3, *P2, K5; repeat from *, end last repeat K3 instead of K5.
ROW 2: In C2, K3, Sl2 wyib, *K5, Sl2 wyib; repeat from *, end Sl2, K3.
ROW 3: In C2, P3, Sl2 wyif, *P5, Sl2 wyib; repeat from *, end P3.
ROWS 4 AND 5: Repeat Rows 2 and 3.
ROW 6: In C1, *K1, Right Swap, Left Swap; repeat from *, end K1.
In Winged Wave, using a variation of the technique in Gull Check, the fabric is covered with wings of both colors. This pattern combines slipped stitches, swapped stitches, and extra wraps. Drop the wraps on subsequent rows to make loose stitches, and pull the stitches taller by slipping them for several rows. Finally, rearrange the stitches to make wings. As with most pattern stitches, this one will be more dramatic with greater contrast between the colors. See chart for right and left swap directions.
IN C1, CAST ON.
SETUP ROW 1 (WS): In C1, K4, *P2, wrapping yarn twice for each stitch, K6; repeat from *, end last repeat K4 instead of K6.
SETUP ROW 2: In C2, K4, *Sl2 wyib, dropping the extra wraps, K6; repeat from *, end last repeat K4 instead of K6.
ROW 1 (WS): In C2, K4, *Sl2 wyif, K6; repeat from *, end last repeat K4 instead of K6.
ROW 2: In C2, K4, *Sl2 wyib, K6; repeat from *, end last repeat K4 instead of K6.
ROW 3: In C2, K3, *P1, wrapping yarn twice, Sl2 wyif, P1 wrapping yarn twice, K4; repeat from *, end last repeat K3 instead of K4.
ROW 4: In C1, K1, *Right Swap, Left Swap; repeat from *, end K1.
ROWS 5–8: Repeat pattern Rows 1–4, reversing colors.
You may work into rows below the current row for several reasons: to add depth and texture to the knitting, to draw colors from previous rows up higher, and to pull strands of the current color across the face of the fabric. There are several different techniques for working into these lower rows: knit below, purl below; dropping and unraveling, and dip stitches.
Usually you insert your right needle into the first stitch on the left needle and form a new stitch by pulling the working yarn through that single stitch. When you “knit below,” you knit into the stitch one row lower instead.
After the new stitch is completed, there are two strands of yarn around its base: one strand from the lower stitch and one from the higher stitch. The strand from the higher row unravels and slumps down to form an inverted V. When these Vs are repeated using contrasting colors, they add visual interest because of the diagonal lines they create. They also add more depth to the fabric, making it both thicker and softer. Some of the patterns created this way are called brioche stitches.
This pattern will spread in width, so be careful to cast on and bind off loosely. Both sides of the fabric are very pleasant, but the honeycomb effect is only seen on the right side. For a fabric where the checked pattern is obvious, choose two colors with very different values. Colors with little contrast will blend together. Like other stitches in the brioche family, Checked Rose Fabric is thick and fluffy. Here, C1 is the background color, while C2 forms the lattice.
Notice that C2 is worked two rows at a time, but C1 is only worked one row at a time. You must use two double-pointed needles or a circular needle and work across twice on the same side (once with C2 and again with C1), so you never need to cut the yarn. You may find it helpful to mark the right side of the fabric with a safety pin or split marker. If you find it difficult to knit into the stitch below on the first and last stitch of the row, knit the stitch instead.
IN C1, CAST ON.
SETUP ROW (RS): In C1, knit.
ROW 1 (WS): In C2, *K1, knit below; repeat from *, end K1.
ROW 2 (RS): In C2, knit below, *K1, knit below; repeat from *.
ROW 3 (WS): In C1, *K1, knit below; repeat from *, end K1.
ROW 4 (WS): Do not turn your work; instead, slide all stitches to the other end of the needle. In C2, *knit below, K1; repeat from * and knit below.
ROW 5 (RS): In C2, K1, *knit below, K1; repeat from *.
ROW 6 (RS): Do not turn your work; instead, slide all stitches to the other end of the needle. In C1, knit below, *K1, knit below; repeat from *.
By knitting and purling into the row below, it’s possible to produce a completely reversible Brioche or Shaker Rib, with knit ribs in one color on one side and in the other color on the reverse. This is the perfect stitch for a soft stretchy scarf, if it’s cast on and bound off very loosely. The edges of the fabric tend to be loose, so be sure to tighten the yarn a bit before you begin each row. Because of these tension issues, it’s important to swatch this stitch not only for gauge but so you can work it consistently once you begin your project.
Here are a few tips to make this pattern go more smoothly:
Use double-pointed or circular needles. Because you’ll knit only one row at a time with each color, use two double-pointed needles or a circular needle. These allow you to work across once in each color in one direction, then turn and do the same in the other direction.
Determine direction and proper yarn. If you find it difficult to determine which direction to work or which yarn to use on any given row, look at the stitches already on the needle, which will all be in one color. Use the other color, starting from the end of the needle it’s attached to.
Determine whether to knit or purl. If you can’t tell whether you should knit or purl the row as you begin the row, look at the side of the fabric facing you. If the knit ribs are in the color you’re working with, then you are doing a row with knits and knit belows; but if they’re in the other color, you’re working a row with purls and purl belows.
IN C1, CAST ON.
SETUP ROW (WS): In C1, knit.
ROW 1 (RS): In C2, K1, *knit below, K1; repeat from *. Do not turn your work; instead, slide all stitches to the other end of the needle.
ROW 2 (RS): In C1, P1, *P1, purl below; repeat from *, end P2. Turn before working next row.
ROW 3 (WS): In C2, *P1, purl below; repeat from *, end P1. Do not turn your work; instead, slide all stitches to the other end of the needle.
ROW 4 (WS): In C1, K2, *knit below, K1; repeat from *, end knit below, K2. Turn before working next row. To end, bind off while working either Row 1 or Row 4, purling rather than knitting the plain stitches and knitting below as usual. Remember to bind off very loosely.
A variation on knitting into the row below is to knit more than just the top two rows together. You actually unravel the stitches before knitting them together. This gathers all the loose strands together, making a pleasant change in texture from the ubiquitous stockinette stitch.
This pattern creates a stable grid, with the main color forming the lattice and the other three colors changing behind it, and has an extremely pleasing scalloped bottom edge. Its small scale is appropriate for placemats and pillows, as well as garments. Since it stretches horizontally, but not vertically, Four-Color Windowpanes is particularly good for bags. Amazingly, it doesn’t curl at all, so you might even try it for a scarf. When knit firmly, the contrasting colors bubble out between the window frames. When knit loosely, it can be blocked flat. (For project using this stitch pattern, see Windowpane Bag.)
IN C1, CAST ON.
ROW 1 (RS): In C2, knit.
ROW 2: In C2, purl.
ROWS 3–4: Repeat Rows 1–2.
ROW 5: In C1, K3, *drop the next stitch, unravel 4 rows, insert needle from the front into stitch on fifth row below then knit it, catching all strands, K3; repeat from *.
ROW 6: In C1, purl.
ROWS 7–12: Repeat Rows 1–6, substituting C3 for C2.
ROWS 13–18: Repeat Rows 1–6, substituting C4 for C2.
Dip Stitches are worked through stitches lower in the fabric, but no stitches are dropped or unraveled. Take care to work them loosely enough to avoid puckering the fabric. Dip Stitches tend to look uneven, and small holes may appear on either side of them. For this reason, they work best in a firmly knit base fabric.
This simple broken striped pattern has the same gauge as stockinette stitch because the dip stitch forms a new stitch on the fabric’s surface, rather than distorting it. See chart for Dip Stitch instructions.
IN C1, CAST ON.
SETUP ROW 1 (RS): In C1, knit.
SETUP ROW 2: In C1, purl.
SETUP ROW 3: In C2, knit.
ROW 1 (WS): In C2, purl.
ROW 2: In C2, knit.
ROW 3: In C2, purl.
ROW 4: In C1, K3, *work Dip Stitch, K5; repeat from *, end last repeat K3 instead of K5.
ROW 5: In C1, purl.
ROW 6: In C1, knit.
ROW 7: In C1, purl.
ROW 8: In C2, K6, * work Dip Stitch, K5; repeat from *, end last repeat K6 instead of K5.
Slipping groups of stitches with the yarn on the right side of the fabric creates long horizontal strands that are caught up in stitches on later rows, leaving diagonal embellishments across the background. All of the patterns in this section are worked by slipping a series of stitches, on just one row or on several consecutive rows, while holding the working yarn on the right side of the fabric.
A fine web of the contrast color crosses a stockinette background. Of the many quilted patterns, this one produces the neatest results. The quality of the fabric varies a great deal depending on how tightly it’s knit. Knit firmly, the fabric will be stiff and inelastic, useful for tailored garments or bags that need to keep their shape. Knit loosely, it’s excellent for stretchy nonstructured garments.
IN C1, CAST ON.
ROW 1 (WS): In C1, K1, P1, *Sl5 wyib, P1; repeat from *, end K1.
ROW 2: In C2, knit.
ROW 3: In C2, K1, purl until 1 stitch remains, end K1.
ROW 4: In C1, K1, Sl3 wyib, *insert needle under loose strand of C1 from Row 1, knit the next stitch so that this strand is caught behind it, Sl5 wyib; repeat from *, end last repeat Sl3 wyib, K1.
ROW 5: In C1, K1, Sl3 wyib, *P1, Sl5 wyib; repeat from *, end P1, Sl3 wyib, K1.
ROWS 6–7: Repeat Rows 2–3.
ROW 8: In C1, K1, *pick up loose strand from Row 5, K1 catching strand behind stitch, Sl5 wyib; repeat from *, pick up loose strand and K1, catching strand behind stitch, K1.
Strands from slipped stitches are gathered together into the tiny butterflies that give this pattern its name, but the overall effect is of textured diamonds.
IN C1, CAST ON.
ROWS 1, 3, AND 5 (WS): In C1, P2, *Sl5 wyib, P5; repeat from *, end Sl5, P2.
ROWS 2 AND 4: In C1, knit.
ROW 6: In C2, K4, *insert the right needle under the three loose strands and knit the next stitch, bringing the new stitch out under the strands, K9; repeat from *, end last repeat K4 instead of K9.
ROWS 7, 9, AND 11: In C2, P7, *Sl5 wyib, P5; repeat from *, end P2.
ROWS 8 AND 10: In C2, knit.
ROW 12: In C1, K9, *lift and knit all strands together with the next stitch as on Row 6, K9; repeat from *.
The angular zigzags of chevrons are formed by positioning a series of decreases in columns, with increases lined up in columns between them. The curves of rippled patterns are made by placing groups of decreases on one row between groups of increases from a previous row or rows.
All the shaping for this chevron pattern is worked in the stockinette sections, and the garter-stitch stripes bend to match on their own. The fabric doesn’t curl, which makes it perfect for times when you don’t want to add borders. C1 is used for the garter stitch, C2 for the stockinette.
IN C1, CAST ON.
ROW 1 (WS): In C1, knit.
ROWS 2–5: In C1, knit.
ROWS 6, 8, AND 10: In C2, *K2tog, K2, knit into front and back of the next 2 stitches, K3, ssk; repeat from *.
ROWS 7, 9, AND 11: In C2, purl.
ROW 12: In C1, repeat Row 6.
This is the knitted version of the traditional crocheted ripple afghan stitch. Use just three or four horizontal repeats of the pattern for a scarf, or as many as you like for a blanket. Every row is knitted, so there is no curling and decorative points form at both ends of the fabric. Note that the number of stitches decreases on Rows 1 and 3, but returns to the original count on Rows 2 and 4. To ensure that the points at the bind off are crisp, bind off on a wrong-side row, in pattern. That is, when you reach the K1-yo-K1 increase, bind it off as you go: K1, pass the previous stitch over, yarn over, pass the K1 over, K1, pass the yarn over over, and so on across the row.
IN C1, CAST ON.
SETUP ROW (WS): In C1, knit.
ROW 1 (RS): In C2, K1, ssk, *K9, Sl2, K1, P2sso; repeat from *, end K9, K2tog, K1.
ROW 2: In C2, K1, *P1, K4, K1-yo-K1 in next stitch, K4; repeat from *, end P1, K1.
ROWS 3–4: In C1, repeat Rows 1–2.
Old Shale is a traditional Shetland pattern, very simple to work, but with maximum impact for the small amount of effort involved. A scalloped edge forms at the cast on, making this the perfect bottom border for vests or sweaters, as well as lacy shawls and scarves.
IN C1, CAST ON.
ROW 1 (RS): In C1, *K1, K2tog 3 times, [yo, K1] 5 times, yo, K2tog 3 times; repeat from *, end K1.
ROW 2: In C1, knit.
ROW 3: In C1, knit.
ROW 4: In C1, purl.
ROWS 5–8: In C2, repeat Rows 1–4.
Contrasting bobbles and picots added to the surface of the fabric render both texture and color more interesting. Picots are made by increasing rapidly, then decreasing slowly. During both the increase and decrease, care is taken to make the picot neat and symmetrical. Bobbles are little bumps that protrude from the surface of your knitting, and you can make them in numerous ways. Like picots, the bobble is made by increasing rapidly but then decreasing just as rapidly back to the original number of stitches.
Picots are little points that pop up from a ridge of garter stitch. Making the picots and shaping the rest of the fabric around them takes place over several complete rows of knitting. Rows 1 and 2 are worked with the picot color, the other rows in the background color. The eyelet at the center of the picot can be used as a small buttonhole, if you like.
ROW 1 (RS): Using the contrast color, knit until you come to the stitch where the picot will be located. [K1, yo, K1, yo, K1, yo, K1] into this stitch to make 7 stitches in it, knit to the position for the next picot, or to the end of the row.
ROW 2: In the same color, knit the entire row, including the picot stitches.
ROW 3: Change to the background and knit until 1 stitch remains before the picot stitches, K2tog, K5, ssk, knit to end of row, repeating for each picot.
ROW 4: Purl until you reach the ssk from the previous row, ssp, P1, Sl1 wyif, P1, P2tog, purl to end of row, repeating for each picot.
ROW 5: Knit until you reach the P2tog from the previous row, K2tog, Sl1 wyib, ssk, knit to end of row, repeating for each picot.
ROW 6: Still using the background color, purl.
Because this small bobble takes just one row to complete, it’s a very convenient addition to a pattern in a single or final row of a color. It makes a neat little bobble, one that stands up nicely on the surface of the fabric. (See bottom row of both swatches in box below.)
This bobble is one of my favorites because it holds its shape. It differs from many because the instructions include the stitch following the bobble, which helps to get rid of the small hole that forms at the base and prevents the bobble from twisting and flattening. Note that you start working this bobble a stitch earlier than you might expect. (See middle row of both swatches in box below.) On the right side, work until you come to the stitch before the one where you want to position the bobble.
ROW 1: Knit into front, back, front, back, front of the next stitch (making 5 stitches in 1), K1, turn.
ROW 2: P5, turn.
ROW 3: K5, turn.
ROW 4: P5, then pass the second, third, fourth, and fifth stitches over the first stitch, turn.
ROW 5: Knit into back of the stitch.
This is a very big bobble, worked over two stitches to give it more stability, and is useful when you want to make a very bold statement. Work across on the right side until you come to the two stitches where you want to place the bobble. (See top row of both swatches in box below.)
ROW 1: (K1, yo, K1, yo, K1) to make 5 stitches in the first stitch, repeat for the second stitch, turn.
ROW 2: Purl the bobble stitches, turn (3 bobbles stitches).
ROW 3: Ssk twice, K2, K2tog twice, turn (6 bobble stitches).
ROW 4: Purl the bobble stitches; turn.
ROW 5: Ssk twice, K2tog; turn.
ROW 6: Purl the bobble stitches; turn.
ROW 7: K1, K2tog; 2 bobble stitches remain.
Single-row bobbles, while smaller than the others, can be worked much more quickly. Learning to knit backward will save you the time and effort of turning repeatedly on large, multiple-row bobbles. If you’d like more texture, make multirow bobbles and knit across the wrong-side rows, so the purls make the fabric bumpier. You can place bobbles very close together to provide allover texture, or spread them far apart.
Now that you know how to make bobbles, how do you control the color as you place them on the fabric?
TO ACCENTUATE PATTERNS. You can work a bobble anywhere on the face of the fabric when you happen to already be using that yarn. For example, you could place bobbles at the center point of a chevron, to highlight the wavy ridge that punctuates Old Shale, or as finials on the intersections of a lattice.
USE A GARTER-STITCH RIDGE. You can make a garter-stitch ridge across the fabric where you want the bobbles by knitting all the stitches in the bobble color and working the bobbles as you go. Then knit across the wrong side with the same color before switching back to the background color.
FREE FLOATING. If you want your bobble to float free in a sea of the background color, change to the bobble color and knit the first stitch of the row to anchor the yarn. Slip the stitches before, after, and between the bobbles, keeping the yarn behind the fabric and taking care to leave the strand loose so the fabric doesn’t pucker. It’s best not to slip more than 4 or 5 stitches at a time, so if your bobbles will be farther apart, consider knitting 1 stitch in the bobble color halfway between each bobble. To get the yarn back to the other edge of the fabric, work the row after the bobbles with the same color, knitting into the bobble stitches and slipping the intervening stitches.
You may find a pattern stitch that is exactly what you want — just the right number of colors, just the right width and height, and just the right scale for your project. But what if you can’t? Find something close to what you want, then change it.
Remember to suit your fabric to your project, using thicker, less stretchy fabrics for things you want to hold their shape, like bags; medium fabrics for basic garments like hats and sweaters; and light, very stretchy fabrics for things that need a lot of stretch and drape, like shawls. For more information on designing, both fabric and garments, see chapter 9.
VARIATIONS ON FOUR-COLOR WINDOWPANES (Four-Color Windowpanes). The simplest change you can make is to adjust the number or occurrence of the colors. The Four-Color Windowpanes pattern could be completed in just two colors or in as many as you like. Above, I’ve explored several options. The original pattern is shown in shades of green (A), using a single self-striping yarn in place of all the contrasting colors (B), then changing colors gradually from yellow to purple, with a light aqua (C) and an olive background (D). For a project using this stitch pattern, see Windowpane Bag.
VARIATIONS ON RIDGE CHECK (see Ridge Check Pattern). In horizontal patterns, you can almost always vary the width of the stripes. The original Ridge Check Pattern is shown in olive and dark gray-green (A). Variations include working wider and narrower stripes of each color (B) and (C), and swapping stitches to make the ridges run diagonally (D).
VARIATIONS ON CHAIN STRIPES (see Chain Stripes). Chain Stripes (A) calls for two contrast colors alternating on a solid background, with the chains shifted each time the color changes. Variations shown are: a single variegated yarn for the contrast colors plus a garter ridge in this color between each chain (B), a two-color version reversing background and foreground colors in each repeat and lining up all the chains (C), and a single variegated bouclé in place of the contrast colors (D).
VARIATIONS ON OUTLINED CHECK (see Outlined Check). Light aqua forms the background in A and B, but in A the centers of the ovals alternate between medium green and dark gray-blue. In B, the darkest color, gray-blue, outlines the two medium colors for a more organized effect. In C, the width of the pattern has been altered to make the center ovals only 4 stitches wide, rather than 6, changing the proportion of the pattern. The top half of this swatch explores a further variation, knitting the second row of the background color between each set of ovals to outline them with a garter-stitch ridge. This makes the pattern more angular and gives it greater depth.
The windowpane-stitch pattern creates a fabric with little stretch, making it perfect for a bag. The comfortable handles are worked in a slip-stitch pattern, creating a firm fabric with even less stretch. The handles are designed so that the long one slips through the short one to provide easy, secure closure.
Using C1, cast on 80 stitches. Join the beginning and end of round being careful not to twist the cast on.
ROUNDS 1–2: Using C1, knit around.
ROUNDS 3–6: Using C2, knit around.
ROUND 7: Using C1, K3 *drop the next stitch, unravel 4 rows, insert needle from the front into the stitch on the fifth row below (which will be in C1), then knit it, catching all the unravelled strands as you do so; K3; repeat from * around.
ROUND 8: Continuing in C1, knit around.
ROUNDS 9–14: Repeat Rounds 3–8.
ROUNDS 15–26: Repeat Rounds 3–14, using C3 in place of C2.
ROUNDS 27–38: Repeat Rounds 3–14, using C4 in place of C2.
ROUNDS 39–50: Repeat Rounds 3–14, using C5 in place of C2.
ROUNDS 51–62: Repeat Rounds 3–14, using C6 in place of C2.
ROUNDS 63–74: Repeat Rounds 3–14, using C7 in place of C2.
ROUNDS 75–86: Repeat Rounds 3–14, using C8 in place of C2.
ROUNDS 87–98: Repeat Rounds 3–14, using C9 in place of C2.
ROUNDS 99–100: Using C1, knit around.
For more information and photos, see Binding Off with I-Cord.
Turn the bag so that the wrong side faces you.
Using C1, cast on 3 stitches at the beginning of the left needle point.
*Knit 2, slip 1 knitwise, knit the first stitch to be bound off, pass the slipped stitch over (this works the last stitch of the cord together with the first stitch to be bound off). Slip all 3 stitches back to the left needle purlwise. Do not turn.
Repeat from * until the top of the bag has been bound off and only the I-cord stitches remain. Work a second round of I-cord. Cut yarn, pull end through all stitches, and stitch firmly to beginning of I-cord.
For tips on working this stitch, see Tricolor Fabric Stitch, page 51. Note that you never cut any of the colors; just carry them up the edge of the strap whenever you need them. The straps shown use colors C1, C4, and C9, but you could use any combination of three colors from the body of the bag that you prefer. Swatch to see what works best!
Using C1, cast on 11 stitches.
SETUP ROW (WS): Purl to end of row.
ROW 1 (RS): In C4, K1, *Sl1 wyif, K1; repeat from *.
ROW 2: In C9, K1, P1, *Sl1 wyib, P1; repeat from *, end K1.
ROW 3: In C1, repeat Row 1.
ROW 4: In C4, repeat Row 2.
ROW 5: In C9, repeat Row 1.
ROW 6: In C1, repeat Row 2.
Repeat these 6 rows until the strap measures 24” (61 cm).
Make another strap identical to the first, measuring 10” (25 cm).
Fold the straps in half, and sew the ends securely to the inside of the I-cord bind off, one at each side of the top, as shown in the drawing.
With wrong sides facing, use C1 and backstitch to sew the bottom of the bag closed.
Attached straps with corners abutting.
