by Sandi Rosner
In the Netherlands, it’s steekverhouding. In the U.K., it’s tension. In Portugal, it’s amostra. In any language, understanding gauge is essential to successful knitting.
Ask the Problem Ladies: Spring/Summer 2011
By Kay Gardiner and Ann Shayne
Another batch of good questions and good solutions from the Problem Ladies!
The Finish(ing) Line
by Lee Ann Dalton
The time: ungodly early. The place: 500 metres past the last chance to hit a portapotty, poised on the Jacques Cartier Bridge in Montréal, Québec. The scene: I'm jumping up and down, wringing my hands and trying to release a cramped calf muscle that has plagued me for the past two weeks. Everyone around me does variations on a theme of the same nervous dance, waiting for the countdown to start.
Annemor Sundbø: Stitches in Time
Eighteenth-century paintings artfully intertwine with knitted history…
By Lela Nargi
In the last ten years knitters have been considering our craft with a certain amount of reverence: knitting is couture; knitting is an artist’s medium; knitting expands our understanding of ancient cultures. But 150 years ago in Scandinavia, knitting served a more utilitarian purpose: workaday wear that was darned until there was more hole than sweater, then repurposed as insulation. Both uses blocked out the winds of winter—just a bit more externally the second time around.
Swatch It! Spring/Summer 2011
By Clara Parkes
Jackets offer a compelling yarn challenge. They usually combine bulk and tailoring in a far more structured way than, say, your average hat, scarf or even pullover. Hilary Smith Callis's Blue Daisy jacket is even more of a challenge because it blends a dense and firm daisy stitch in the front panels with a much more open, almost lace-like, little knot stitch over the rest of the jacket. Choose too heavy a yarn and those front panels will sag and pull the fabric in from the sides. Opt for too light of a yarn instead, and the panels will lack any structure at all.