Jogless stripes redux, coming May 5, 2009

TECHknitting hits print!

Among the wonderful articles and patterns in the upcoming Summer 2009 issue of INTERWEAVE KNITS, there will be an article by TECHknitter (that's me!) on the subject of Jogless stripes.


Parts of the information covered has been seen before, but in a different format and with different illustrations (click here). In the magazine, this information is re-presented with all-new illustrations. Not previously covered on TECHknitting blog and new to the magazine is instruction on jogless barber-pole (aka helix) stripes, with a neat trick for making this kind of stripes easier (much easier!) as well as a trick for making the elusive single-row jogless stripe. Pick up a copy and see for yourself--on sale May 5th, or by subscription (click here).

I'm excited about this debut, and hope you will like TECHknitting in this new medium (print!)
--TECHknitter

Crossing stitches: one way to avoid a hole on a vertical opening in knitwear

On the community knitting board Ravelry, the subject has twice lately come up of crossing stitches to avoid a hole where a vertical opening (pocket slit, buttonhole, sleeve opening, division for the heeltab of a sock) is being made. Although it is not the only method for avoiding holes in this area, crossing stitches is a decent utility method for solving the problem and deserves a post of its own.

Illustration 1 shows the nature of the problem. Specifically, when two columns of stitches are to be separated, the only thing holding the fabric together under the separation is a single stand of yarn (illustrated in green). That single strand tends to stretch out, and will eventually leave a hole in this area.


Illustration 2 shows that by crossing the stitches in the row just under the separation, there will now be five strands of yarn to take the strain (green) rather than the single strand in illustration 1. (As to how to cross the stitches, the easiest way is probably to spear one stitch with a bobby pin and let it hang on the back or the front of the work, knit the next stitch, and then replace the stitch from the bobby pin onto the left needle, and then knit it. Whether you allow the bobby-pinned stitch to fall to the back or the front determines whether the front stitch of the crossed pair slants right or left)


Illustration 3 shows an application of this principle at the heel tab of a sock.


Illustration 4 shows crossed stitches at the bottom of a vertical opening such as a pocket slit or a vertical buttonhole, or at the bottom of a sleeve opening.



Illustration 5 is the same as illustration 4, but shown "in the wool." As you can see, the stitches are crossed differently in illustrations 4 and 5, and it is up to you to decide which way you like better--structurally, it makes no difference at all.


Crossing stitches makes a sturdy utility reinforcement--very good for socks, buttonholes, sleeve openings and children's clothing. However, this method makes a noticeable pucker in the fabric, and therefore is perhaps not so wonderful for a v-neck sweater, where (depending on the further edge treatment) the pucker created by crossing the stitches might be on very obvious display.

A note to knitting geeks: there is one additional application of crossing stitches which is quite lovely. When you KNOW you are going to use a Norwegian sleeve "psuedo-steek" (no additional stitches added for the steek) you can cross the stitches in the row UNDER where the cut for the sleeve steek is going to end. In other words, after you have secured the two columns of stitches on either side of the intended cut, then when you come to cut the "ladder" between the two columns, there will be a nice pair of crossed stitches at the bottom of the ladder, just waiting to take the strain at the bottom of the newly-made opening.

--TECHknitter You have been reading TECHknitting on "crossed stitch reinforcement for the bottom of a vertical opening in knitwear."

Casting on additional stitches at the end of a row by the loop cast-on method: a trick for beautiful edges

Today's installment of TECHknitting shows a trick for casting on (adding) stitches at the end of a row, or over a gap, such as over a peasant thumb on a sock, or over a pocket opening, or over a buttonhole.

Way back, in the fourth post ever released on TECHknitting blog, the looping-on method of casting on was introduced, with that post indicating that this method is fragile and of limited usefulness. Yet, there are some times when this cast-on, so unsuited to ordinary duty, simply shines--a real Cinderella of a cast-on. Specifically, when done right, the looping-on cast-on turns out to be ideal for adding stitches at the end of a row.

Now, the experienced knitters among you may be shaking your heads, and well you might: the loop cast-on at the end of a row usually ends up making an untidy mess of loose, loopy foundation stitches--a sad embarrassment at seaming time, and a truly terrible looking mess on an exposed edge. Yet, with all its faults, the loop cast-on can very easily be made directly from the running yarn of the adjoining row, and this ease of construction is simply not true of the alternative methods.

What if the advantages of this looping-on (ease of construction) could remain, but the loose mess could be eliminated? Well, here is a TECH-trick to do that--a trick which will tighten up this easy, yet messy method into respectability and true usefulness.

Step 1: Let us suppose that you have piece of stockinette fabric (illustrated in light blue) and you need to add four stitches at the end of a row of knitting. In this trick, we will get to four stitches eventually, but we are actually only going to start by adding only three loops. These three loops are illustrated in lavender. (To learn how to do the looping-on cast-on, click here.) The yarn connecting the garment stitches and the three newly-made loop st is illustrated in dark purple, and we will come back to that connector shortly.

Step 2: Turn the work.


Step 3: Knit the first stitch of the loop cast-on. This can be frustrating because the loop keeps wanting to untwist as you try to knit into it, but persevere. In the illustrations below, the first loop has been knitted, and the stitch knitted is illustrated in green.

Step 4: Knit the remaining 2 loops. You will now have on your right needle, three stitches plus a horrible, nasty, long length of yarn (illustrated in purple) connecting these 3 stitches to the rest of the knitted fabric, as shown below. Do not despair! This has been foreseen and will be eliminated in step 5.

Step 5: We will now preform the trick which will remove that extra slack, smarten up the loop cast on, and raise the stitch count to the proper number. Here's how: grasp the excess yarn (purple) between your thumb and forefinger, give it a half twist in the anticlockwise direction, and replace it on the LEFT needle.


Step 6: knit this stitch as you have done the previous loops


Step 7: the final result


Do you see what you've done? You've made a new loop, thus using up the excess yarn AND correcting the stitch count.

By this trick of casting on one less stitch than we need, then making the additional stitch out of the inevitable slack on the next row, we have turned the sloppy slack created by the loop cast on from a disadvantage into an asset.

In the example above, we have 4 stitches to add on by the loop method. However, if you have to add on a substantial number of stitches at the end of a row, the ratio to cast on is about 1/3 fewer stitches than the pattern calls for, then pick up the extra stitches by making loops, evenly spaced, all along the return row, with the last added-in stitch occurring just where the cast on is connected to body of the fabric, as shown in illustration 5.

As an example, if you had to cast on 30 stitches at the end of a row, you'd cast on only 20. On the return trip, you would loop up the extra 10 stitches, evenly spaced, all along the row, with the last (10th) stitch coming at the very end of the row of loops, just where the row is connected to the body of the garment.

The illustrations show stitches added at the right side of a stockinette fabric. You can add stitches on the left side just the same way, and you can purl into the loops on the return trip just as easily as you can knit into them.

Addendum added 4-7-09:  To cast on over a gap (thumb, pocket opening) simply cast on fewer stitches, then pick up the extra stitches out of the slack on your next trip through, just as you would on the return trip after casting on at the end of a row.  

A note for knitting geeks:
If you look carefully at illustration 7 (the completed cast on) you'll see that it looks just like a long tail cast on. In fact, a long tail cast on IS a row of loops with a row of knitting inserted. (More details about the long-tail cast-on here.) The reason the loop cast on is so loose when performed at the end of the row is because the foundation row of loops is made around a needle, instead of the way long-tail cast on is usually made, with the foundation loops snugged up around the knitted loops. In other words, by making the loops around a needle, they simply end up too big.

When you start to knit into these too-big loops on the return trip, the slack accumulates and turns into a really nasty-looking loose foundation edge. By casting on fewer stitches and then drawing the slack up to form the extra stitches necessary to complete the stitch count, this slack is eliminated. Of course, you can achieve the same effect by working the cast-on loops onto a much smaller needle, but then you have the problem of holding an extra needle parallel to your left needle, which involves acrobatics and a dexterity not required by the trick shown here.

One final refinement for ultra-perfectionists:
It sometimes occurs that even when the last loop is made at the end of the row, just before the body of the garment, you will STILL find an unacceptable length of yarn stretched there, just waiting to make a horrid mess at the join. If this is the case, create yet another loop to get rid of the slack, place this surplus loop on the left needle, and knit (or purl) this surplus loop away by k2tog'ing (or p2tog'ing) it together with the first stitch of the fabric of the garment.

--TECHknitter  You have been reading TECHknitting on: "An improved method of casting on at the end of a row by the loop method."

Ordinary chain bind off, part 3: binding off circular knits

Includes 13 illustrations Click any illustration to enlarge

When using an ordinary chain bind off to cast off a circularly knitted garment, there are several methods of dealing with the last stitches:

• the gappy default
  
• Method 1--an OK method
  
• Method 2--a pretty good method
  
• Method 3--an excellent method
  

The gappy default:

The gappy default is to simply chain bind off all the way around, and then to end the bind-off by pulling the tail yarn (yellow) through the last stitch (blue). In this default method, the knitter simply accepts the gap between the first stitch bound off (green) and the last stitch bound off (blue) as shown on the illustration below.

The OK method (method 1)

To close the unsatisfactory gap left by the default method, a refinement has been added by many knitters, as follows:

1a: After binding off the last stitch (blue) thread the tail (yellow) onto a blunt tipped, large-eyed sewing needle ("tapesty needle"). Insert the tapestry needle up into the blue stitch from underneath, as if you were pulling the final tail through the last stitch in ordinary chain bind off per the default method. Next, insert the needle from the back to the front, under BOTH arms of the first stitch bound off (green). Illustration 1a shows the tail (yellow) worked through the last stitch bound off (blue), and the needle inserted under the two arms of the first stitch bound off (green).

1b: Th needle, which has been drawn through the green stitch to the front, is then re-inserted into the top of the blue stitch, inserting from the top, downwards, as shown.

1c: This method creates a bridging stitch (yellow) between the last stitch bound off (the blue) and the first stitch bound off (green). As you can see, the bridging stitch actually acts as an additional chain bind-off stitch inserted into the top of the bind off. Truthfully, in thin yarn, this extra stitch (yellow) is unlikely to ever be noticed, but in bulky yarn, that extra (yellow) stitch may cause an awkward bump.

The GOOD method (method 2)

In order to maintain the pattern of bound-off stitches around the top without inserting an extra stitch, method 2 has you stop the chain bind off one stitch before the end. Thus, the last stitch bound off (blue) stops when there remains one fabric stitch "live" (not bound off) and that is the orange stitch. Specifically:

2a: To work method 2, the first step is to thread the tail (yellow) onto a tapestry needle. The needle is then inserted purlwise into the last remaining live fabric stitch (orange) as shown in illustration 2a, and next inserted up into the last stitch bound off (blue) from underneath.

2b: The needle is drawn through the top of the last stitch bound off (blue) and next inserted from the back to the front, under BOTH arms of the first stitch bound off (green).

2c: The needle, which has been drawn through the green stitch to the front, is then re-inserted into the top of the blue stitch, working from the top downwards, and then inserted knitwise into the top of the orange stitch, as shown below.

2d: As you can see, the result of method 2 is really pretty good. The (yellow) bridging stitch which you have created with the tail yarn is not an extra stitch as it was in method 1: although the yellow stitch was worked with a sewing needle, it is actually a knitted chain bind-off stitch worked into the top of the final live fabric stitch (orange). In fact, this little trick of making knit stitches with a sewing needle is the same idea as the Kitchener stitch (also called grafting). In other words, method 2 grafts the top of the last stitch bound off (blue) to the top of the first stitch bound off (green), while also binding off the last live fabric stitch (orange) all this while following the same path which the other knitted bind-off chains have followed.

The EXCELLENT method (method 3)

Now circular knitting, as you know, is not actually done in circles. Rather, circular knitting is done in an endless spiral, where each round has no true beginning or end. This means that any method which simply binds the last stitch to the first will create a jog where the level changes. Specifically, the last stitch bound off (blue) is actually one row higher than the first stitch bound off (green) and so there is a little jog where the levels are drawn together: the green stitch is humped up slightly, while the blue stitch is drawn down. For sheer perfection, it is possible to modify method 2 by adding one more refinement to the top of a circular bind off, and this last refinement (method 3) does away with this level change--it eliminates that jog.

Normally, the jog of the level change in spiral knitting is smoothed over by simply sliding the first stitch of the round from one needle to the next, thus forcing it to span two rows. (This is the trick behind eliminating the jog in jogless stripes). However, simply slipping a stitch at the top of the work would result in the bar behind the slipped stitch perhaps showing on a rolled edging (as you know, a rolled edging exposes the purled side of a stockinette fabric, so that the bar behind the stitch slipped across would show).

Therefore, we've got to find another trick to reduce the height level between the first stitch bound off and the last stitch bound off (blue) and the trick we'll use in this case is to knit into the stitch below. Here's how:

3a: Begin this method by knitting a stitch into the stitch below. (Click here for further information on knitting into the stitch below.) In this case, the orange stitch above has been knit into the purple stitch below. Both of these stitches are then caught onto the same holder (in this case, the coil-less safety-pin illustrated). The chain bind-off now proceeds in the ordinary manner beginning with the following (green) stitch. (Note that as you start the chain bind off, it's important not to draw up the running yarn too tightly. If you skip ahead to step 3e, you'll see that it is necessary to leave a moderate amount of slack in the orange stitch. How much slack? In this, as in so many things in knitting, use makes master.)

3b: The bind-off proceeds around the garment, and comes back to where it began, stopping when the stitches on the holder are reached. The tail (yellow) is threaded onto a tapestry needle, and inserted purlwise into BOTH stitches on the holder, the orange and the purple. This step ends when the needle is inserted up into the last stitch bound off (blue) working from underneath, upwards, as shown.

3c: The needle is drawn out through the top of the blue stitch, and next inserted from the back to the front under BOTH arms of first stitch bound off (green).

3d: The needle, which has been drawn through the green stitch to the front, is re-inserted into the last blue stitch, working from the top, downwards, as shown. The needle is then inserted knitwise into the orange and purple stitches, as shown.

3e: As you can see, knitting the orange stitch into the purple stitch helps eliminate the jog. Leaving a moderate amount of slack in the orange stitch back in step 3a means that this orange stitch has enough play to stetch across the change of level. Also, because this orange stitch was knitted into the purple stitch below it rather than bing slipped, there is no slipped yarn acorss its back to show on the purl side of a rolled edging. As in method 2, the green and blue stitches are connected by the yellow bridging stitch, which also binds off the remaining live stitches (orange and purple).

As to which method to use, the choice is obviously yours.

My own usage is as follows: On a toe-up sock top, method 1 (the OK method) is fine--the yarn of a sock is so thin that the extra chain stitch squeezed in will never show. Plus, trying to work method 2 or method 3 means working a sewing needle in the correct sequence through very small stitches indeed--a job which would certainly require me to get up out of my chair and hunt out a pair of magnifying glasses. On a bulky hat brim, method 2 is the method I would use: The slight jog would look better to my eyes than the doubled bulk of method 3. However, on the bound off edge of a garment knit circularly in the range of 5 st/in to about 6.5 st/inch, I would certainly choose Method 3, the excellent method, especially if the garment has a rolled edge. Done correctly, method 3 simply will not show--it is even hard to find if you go hunting for it with your glasses on.

Of course, there is always a rascal in paradise, and so it is here. With all three of these methods, the tail remains loose and has to be worked in. For this, I personally would pull off the tapestry needle, re-thread the tail yarn onto a nice sharp needle, and skim in the end. For a rolled edge, I'd skim on the stockinette (front) face of the fabric, just in the first row down, where the skimming would be hidden by the roll of the fabric.

--TK
You have been reading TECHknitting on: Casting off circular knits.

Ordinary chain bind off, part 2b: binding off in the middle of a fabric--ending the bind off

includes 8 illustrations click any illustration to enlarge

The last post was about starting a chain bind off in the middle of a fabric. This post is about ending the chain bind off.

At the end of your bind off for a pocket or a neck opening, you may often find that the last stitch looks messy. This is because the traditional method of ending a chain bind off in the middle of a fabric is to work the last stitch by the same method as you have made the intermediate stitches. Per illustration 1, at the red arrow, this results in the passed-over bar of the last bound off loop showing on the face of the fabric.

Let's diagram this bind off, so we can analyze the stitches one-by-one.

• the second to the last stitch of the bind-off is illustrated in BLUE
  
• the last stitch of the bind off (also called the final stitch of the bind off) is illustrated in GREEN
  
• the first stitch made in the fabric just past the left end of the bound-off opening is illustrated in PURPLE
  
• The stitch in the row below the first fabric stitch is illustrated in BLACK.

As we saw in the photo in illustration 1, and as repeated by the red arrow in illustration 2, with the traditional bind off, the passed-over loop of the last (green) bind-off stitch lays over the first (purple) fabric stitch. This bound-off loop interrupts the smooth march of the column in which the purple stitch lies, and that interruption is what makes the left edge of the bind off look so sloppy. 

Our mission today is to get rid of that interruption. We'll smooth off the left edge all neat and tidy, so that the purple stitch lies in an uninterrupted column of stitches. We are going to reach this goal by using a combination of  k2tog  and a pull-up of a stitch from the row below to eliminate the passed-over bar.

a: Bind off until you are at the second-to-last stitch (blue)

b: Do NOT knit the final stitch (green) to be bound off. Instead, pull the green stitch up onto the right needle--this is the pull-up of the stitch from the row below discussed above. 

c. Pass the blue stitch over the green stitch as if you were doing an ordinary bind off, but hold the running yarn in the back when you do it. This passes the loop of the blue stitch, which has already been knitted, over the loop of the green stitch, which is not yet knitted.

d: Return the final (green) stitch to the left needle, so it lays just to the right of the black stitch.

e: knit the black stitch together with the green stitch (k2tog). The illustration shows the result after you've k2tog'd the green and the black stitch: the k2tog arranges the black stitch on top, while the green stitch is hidden behind, and the first fabric stitch past the bind off--the purple stitch--has no bar laying over it.  In other words, the bar lays over the green stitch, and that green stitch AND the bar are hiding behind the black stitch, instead of laying over the purple stitch! Neat, huh? 

OPTIONAL: The illustration above shows the final (green) stitch simply knitted together with the black stitch. However, as an optional additional step, if you find that the green stitch is so loose that bits of it keep popping out from behind the black stitch, you can tighten it by twisting it a couple of times before you return it to the left needle in step d.

illustration 3 is a photograph showing what this bind-off ending looks like in real life, in all-green yarn.

As shown by the red arrow, the column in which the final stitch lays is not interrupted by the bar of the final stitches' bind off, because we have hidden that last bar. Our goal of a tidy and uninterrupted column for the first fabric stitch has been met.

One last note to dispel possible confusion: All the stitches in illustrations 1, 2 and 3 have been worked to the end of the row because the bind off is complete.  Therefore, the working yarn is not shown: it is "off the screen" so to speak.  This is in contrast to the step illustrations a-e:  in these illustrations, the bind off is shown in progress, and therefore, the working yarn--still in use--IS shown. 

--TECHknitter 

(You have been reading TECHknitting on: "ending a bind off in the middle of the fabric.")

Ordinary chain bind off, part 2a: binding off in the middle of a fabric--starting the bind off

8 illustrations Click any illustration to enlarge

A buttonhole, a pocket opening, the bottom of a neck opening: these are all examples of binding off in the middle of a fabric. This sort of binding off often looks very sloppy indeed, both where it starts (at the right edge of the bind off) as well as where it ends (at the left edge of the bind off)

Today's post concerns the starting part of the bind off--the right edge. The next post will be about the ending part of the bind off--at the left edge.

Let's say that our pattern requires us to bind off several stitches in the middle of our fabric, using the chain bind off. (Click here for further information on the basics of the chain bind off). First we'll look at the traditional method, and then the improved method.

The traditional method

Illustration 1, below: Many books do not have any preparation step for binding off in the middle of the fabric. Rather, you are instructed to simply begin with an ordinary chain bind off as illustrated below: the last stitch of the fabric will be the teal stitch, while the first stitch bound off will be the purple stitch, which is being drawn over the green stitch. As you can see, the purple stitch is connected to the teal stitch by the little red tail, and we'll talk more about that little tail in illustrations 3 and 4, below.
Illustration 2, below: According to the traditional method, you are then instructed to continue the bind off as for an ordinary bind off, so the situation looks like this:
Illustration 3, below: As you can see, using the traditional method, the last fabric stitch (teal) and the first bind off stitch (purple) are connected by nothing other than a single strand--the tail yarn which connects the teal stitch to the purple stitch. This little tail (red) is going to form the bottom right corner of the bind off.

Sadly, over time, the result is going to be an ugly and weak gap. As the teal stitch and the purple stitch stretch ever further apart they will stretch and expose that single red tail. In close-up, the situation is going to look like this:
Photograph 4, below: Here it is in real life, in all-purple yarn. The red arrow is pointing to the stretched-out single tail in the lower right corner of the bind off.

The improved method

To get rid of this ugly, weak gap, let's try this trick: instead of starting the bind off with the purple stitch, we'll do a little sleight-of-hand with the teal stitch. Remember that what we want to do is to improve the connection between the last fabric stitch and the first bind off stitch. As it turns out, when we use a kfb increase (knit front, back), the two daughter stitches which result are hooked together by a veritable spider's web of yarn. So, let's turn that fact to our advantage.

(For illustrated instructions on how to work a kfb, click here.)

We'll use a kfb increase and force the teal stitch to do double duty by turning it into the last fabric stitch AND the first bind off stitch. In this manner, we'll be able to position that strong connection between the two stitches just at the weak corner. In other words, in this improved version of the chain bind off, we are going to use the kfb increase to create TWO teal stitches--one to lay in the fabric, and one BONUS stitch, with the strong connection between these two stitches positioned at the weak corner.

Illustration 5, below: Under this new improved method, when we come to knit the teal stitch, we will work it as a kfb into its underlying foundation stitch. As you can see from the illustration below, this results in TWO teal daughter stitches. The kf part of the foundation stitch lays under the first teal stitch, and this part of the foundation stitch is brown, whereas the kb part of the foundation stitch lies under the second teal stitch, and this part of the foundation stitch is orange.Illustration 5, above, shows the very real benefit of using the kfb increase. You see, due to the kfb increase, the two teal stitches are not merely connected by one single tail like ordinary stitches--no! Rather, they are connected by three strands of yarn: the two orange strands in the twisted portion--the kb portion--of the foundation stitch, as well as the one-strand-tail (red) between the two teal stitches themselves, making three strands altogether. So, instead of the single red tail from illustration 3, by the traditional method, we have three strands--two orange and one red--to fortify our corner by this kfb trick. (There is a close-up of this in illustrations 7 and 8, further down this post.)

Per illustration 6, below, we'll begin our improved bind off by drawing the second teal stitch--the bonus stitch which we made--over the purple stitch, then the purple stitch over the green, and so on.Here is something important to remember about the teal bonus stitch: We do not COUNT it as a bound off stitch. Remember: the second teal stitch is an EXTRA stitch which we've created with only one purpose in mind: to put more yarn into that weak right corner of the bind off. Because we created it as an extra stitch, a bonus stitch, we do not count it when we get rid of it again.

In other words, the second teal bonus stitch flashes into existence for only a brief moment: we create it, then draw it over the first stitch to be bound off, and then the bonus stitch is gone forever. It leaves behind only a stronger corner, but it never alters our stitch count. It is only when we draw the purple stitch over the next (green) stitch that we start counting our bound off stitches--the purple stitch, NOT the teal bonus stitch is the FIRST bound off stitch.

Below, illustration 7, is a close up of what the improved corner looks like once we've add the teal kfb bonus stitch. As you can see, the corner which had only a single, weak red tail by the traditional method now has a sturdy spider's web of yarn fortifying the corner in this improved version. Instead of one strand of yarn, three strands of yarn lie there now--the two strands at the top of the bonus stitch's foundation stitch (orange) as well as the bonus stitch's own tail (illustrated in red). This construction will last far longer than the unimproved traditional corner of illustrations 3 and 4.Photograph 8, below: here is what the kfb looks like at the start of a bind off, in real life, in all-purple yarn. Although you can see the extra yarn in illustrations 5, 6 and 7, yet in an actual photograph (8) you can see that all these extra fortifying loops are actually hidden away, and all you see is the front of the bonus stitch. In other words, even though you've packed that formerly weak corner with lots of yarny fortification, the front presents a nice, even appearance instead of the the loose, sloppy and weak single strand in illustration 3 and photograph 4, above.

I think you will find that over time, this little trick of fortifying the right corner of a bind off by starting the bind off with a kfb will pay off in sturdier buttonholes, more robust pocket openings, and easier to pick-up-through neck openings.

One last thing--are you worried that adding an extra stitch to the corner will make the opening too large? In my experience, that won't happen. In fact, the tight twist introduced by the kfb will keep the starting (right) edge of the bind off tighter than by the original method, because you won't have a stretched-out mess in the corner there.

Due to other plans, the next installment of this series cannot be posted until after the first week in January. When we meet again, we will consider the left hand (finishing) end of binding off in the middle of the fabric.

I wish everyone a very happy new year--may the economy recover, and may we all have a good year, in happiness and health.

--TECHknitter
(You have been reading TECHknitting on: "bind off (cast off) in the middle of a fabric.")

Ordinary chain bind off part 1: binding off along a straight edge

This is the first post of a three-post series on the "chain" or "stitch-over-stitch" bind off, also called "cast off." Today's TECHknitting is about a simple chain bind off along a straight edge. Do you already know how to do this? If so, skip to the bottom where there are three different methods for working the last stitch--methods to help avoid that sloppy last loop.

Before we get started, a preview: The other posts in this series will be: chain bind off to make an opening in the middle of a garment. This is what you'd do for a pocket or a buttonhole, or at a neck division, for example. A link will be placed here when that post goes live.

Chain bind off to smoothly close the top of an item knit circularly--the top of a drop shoulder-style sleeve, for example, or a tubular scarf. A link will be placed here when that post goes live.

For today, ordinary stitch-over-stitch bind off along a straight edge--the top of a scarf; the neck of a sweater, for example.

Step 1: Knit a stitch (purple) in the ordinary manner.

Step 2: Knit the next stitch (green) in the ordinary manner. You now have two stitches on your right needle.

Step 3: Insert the left needle into the first (purple) stitch on the right needle.
Step 4: Draw the first (purple) stitch over the second (green).

Step 5. Knit another stitch in the ordinary manner (pink). You will again have two stitches on your needle, just as in step 2. In other words, step 5 is the same as step 2.
Step 6: Continue in this manner, repeating steps 2, 3 and 4 to create a bound off edge as shown below.
There are (at least) three ways to do the last stitch so as to avoid a great big loop at the end.

Method a (below) Work to the end of the row as you have been doing. Draw the second-to-last stitch (blue) over the last stitch (tan), break the tail (orange) short, and thread the end through the last loop as shown. Draw up S-L-O-W-L-Y, feeding as much yarn as possible from the tan loop into the orange tail as you draw the tail up, in order to avoid that big loop at the end.

Method b. (below) Work to the end of the row, but do NOT draw the second-to-last stitch (blue) over the last stitch (tan). Instead, break off the tail (orange) and thread it through BOTH last loops, then draw the tail up. Again, be sure to tighten the orange tail slowly while feeding excess yarn from the last two loops (blue and tan) into the tail, in order to avoid having sloppy last loops.

Method c. (below) Work to within one stitch of the last stitch. Do not knit the last stitch at all. Instead, draw the last (tan) stitch on your left needle up from the row below and draw the second-to-last stitch (blue) over it. In other words, do not knit this last stitch--which is the very edge stitch of your fabric--the "selvedge stitch." Instead, simply pull this (tan) selvedge stitch up, and then draw the second-to-last (blue) stitch over it.

Break off the yarn and draw the tail (orange) of the yarn through the selvedge stitch (tan), as well as the second-to-last stitch (blue). In this illustration the selvedge stitch (tan) is extra-long, because this knitter has been making a chain selvedge all along the fabric edge. However, a chain selvedge is not required to make this kind of ending--any sort of selvedge stitch will do just fine.
Stitch-over-stitch chain bind off has the potential to be tight. If you want a loose bind off, such as at the edge of a scarf or afghan, or at the top of a sock, hat or at a mitten cuff, work this bind off with larger needles than you worked the item knitted. However, sometimes a tight, or at least, a firm, bind-off is wanted, such as at the shoulder seams or the back of the neck of a garment. A firm bind off in these high-stress locations prevents the garment from sagging, stretching and drooping. The stitch-over-stitch bind off is a good match for these situations.

One final thing: HAPPY HOLIDAYS!! May you receive everything you need, and may you and your family and friends all welcome the holidays in health and happiness.

--TECHknitter

You have been reading TECHknitting on chain bind off (cast off).

A useful increase: knit into the front, knit into the back of the same stitch

A review of the TECHknitting indexes shows that there are some techniques not yet illustrated, techniques which will be handy on the road ahead.

Here is one such technique. It is called "knit into the front, and then the back of the same stitch," and is sometimes abbreviated

• k 1 f, b (knit 1 front, back) or
• k f/b (knit front/back) or simply
• kfb (knit front back)

As you can guess, knitting twice into the same foundation stitch causes this one foundation stitch give birth to two new daughter stitches, which is how this trick comes to be an increase.

Here is the how-to:

1. (below) This is the "before" picture of the foundation stitch into which you will kfb. In the illustration, the front of the foundation stitch (the right arm, which lays forward on the needle) is blue, while the back of the foundation stitch (the left arm, which lays behind the needle) is green. The running yarn--which will become the first part of the kfb--is pink.

2. (below) The pink running yarn has been knitted in the regular knitting way, and now lays as a loop on the right needle. Note that the foundation stitch (half green and half blue) has not been slid off the left needle. In other words, even though you have already knitted into the foundation stitch, you have only done the first half of the operation (the knitting into the front of the stitch) and therefore, the kfb stitch must remain on the left needle for the second half of the operation.


3. (below) The next step will be to knit into the back arm (the green arm) of the foundation stitch. The red arrow shows the path the needle must take. Specifically, you must swing the needle around to the back of the work, then down through the left arm of the foundation stitch, as shown by the arrow.


4. (below) As you see, swinging the right needle down and through the back (green) arm of the foundation stitch has twisted the foundation stitch into a figure "8," with the right needle through the TOP part of the stitch. Note that the bottom part of the foundation stitch is not twisted, only the top part of the stitch.

Once you have the needle through the top of the foundation loop, the next step is to pull through the running yarn (now colored purple).


5. (below) Here is the finished kfb with the purple running yarn drawn as a loop though the back (green) arm of the foundation stitch.

As you can see, the (pink) stitch through the front (blue) of the foundation stitch is drawn though the untwisted bottom part of the foundation stitch, while the (purple) stitch drawn though the back (green) arm of the foundation stitch is drawn through the twisted top portion of the foundation stitch--the twist having been made back in steps 3 and 4 when the right needle was inserted for the second time into the foundation stitch.


6 and 7. (below) Kfb has a reputation as an amateurish sort of an increase, but this reputation is undeserved. A regular series of kfb's looks very well, as the two final illustrations show.

--TECHknitter

You have been reading TECHknitting on "knit into the front, knit into the back, abbreviated k1 fb or k f/b or kfb"

"My finger hurts from pushing back the left needle tip"

Have you ever given yourself a sore fingertip from pushing back the pointed end of the left knitting needle to bring up the new stitches to be knit? Many knitters use their right forefinger to push back the tip of the left needle (the one with the stitches about to be knit) as a way of delivering fresh stitches to the left needle tip. Some have gone so far as to split the skin of their right forefinger from the repeated jabs.

Even if the problem doesn't extend as far as an actual wound, "pushers" are pretty much prevented from using the really really pointy needles that can make some knitting so much easier (p5tog, anyone?)

So, for all the sore-fingered pushers, here is a little trick: use the barrel of the opposite needle to push back the needle tip. Here's how in three illustrated steps

1. (below) Pinch the right needle firmly (pinch indicated by light brown area)

2. (below) Slide the left needle between the pinching fingers until the tip of the left needle touches the barrel of the right needle.

3. Bracing the left needle tip against the barrel of the right needle, pinch the left needle AND the stitches you want to slide with your left fingers (pinch indicated by light brown area) and push along the needle so the stitches slide towards the left needle tip. The left needle point won't go skidding off the barrel of the right needle, because the right fingers prevent that. Note that the right fingers aren't actually holding the left needle at all--they are only guiding the left needle while pinching the right needle.

--TECHknitter
You have been reading TECHknitting on "how to prevent a sore finger when knitting"

Knitting into the stitch below

4 illustrations, click any illustration to enlarge.
Instructions for various fabric patterns instruct you to "knit into the stitch below." Sometimes, the instructions are a bit more elaborate, stating something like this: "stab the right needle into the stitch below the next stitch on your left needle, knit that stitch, then drop it and the stitch above it off the left needle at the same time."

If this confuses you, you are not alone. Here it is, illustrated:

Step 1: Normally, you would insert the right needle into the blue stitch, because the blue stitch is the next stitch coming up on the left needle. However, to knit into the stitch below, you must locate the stitch BELOW the blue stitch, which is the green stitch in this diagram. Note that it is going to be easier to knit into the green stitch if you get a good grasp of the fabric and stretch it out, which will open the green stitch so that the right needle can be easily inserted along the red arrow path. (If you click on this diagram, it will become much larger, and it will be easier to see all the details.)

Diagram 1 (above) shows a continental knitter (yarn fed on off the left hand) but it matters not which hand feeds the yarn: in this stitch (like every knitting stitch) the path of the yarn through the stitch is the same for continental (left handed feed) and English/throwing style (right handed feed).

Step 2: The right needle has been inserted into the green stitch along the red arrow path of diagram 1, the standing yarn (pink) has been caught on the right needle and the loop of pink yarn, shown pulled through the green stitch, is about to become the newest stitch on the right needle. As you can see, the blue stitch (stitch above) has not yet been released from the left needle. Releasing the blue stitch is the last step in the process, because, by tensioning the blue stitch (stitch above) between the right and left needles while stretching the fabric downward with one or two hands, it is much easier to pull the running yarn (pink) through the green stitch (stitch below).

Diagram 2 (above) above features an English style (throwing) knitter, and the yarn is being fed off the knitter's right hand. Again, the path of the yarn through the stitch is not altered by the hand doing the yarn feed. (If you want to read more about left-handed feed vs. right-handed feed, click here.)

Step 3: The blue stitch (stitch above) has been released and the pink loop is now officially a stitch, sitting on the right hand needle. Note the path of the pink yarn through BOTH the blue AND the green stitches. This is because the blue stitch, which has not been knitted, "runs down" one row until the pink yarn through the green stitch catches it and prevents it from running further.


There are two general uses of this trick. First, it is sometimes used to get rid of a stitch--to park a stitch in the row below and get it out of the way. As an example, in the post of March 3, 2009, TECHknitting applies this technique of "a stitch in the row below" to improve binding off in the round (click here, scroll to third method). 

Another, more common use, is to make fancy, lofty stitch patterns similar to brioche stitches. These sorts of "waffle knits" are cushier than ordinary knits: the technique of knitting into the row below draws up the fabric, making it shorter and thicker, as shown in Illustration 4, below.

This particular stitch pattern is called embossed rib by some and fisherman rib by others, and is made by working back and forth (flat knitting) on an uneven number of stitches, as follows:

• Purl every other row (that is, rows 1, 3, 5 and so on)
• On the knit side (rows 2, 4, 6 and so on) *knit 1, then knit into the row below, repeating from * all the way across the row, ending with a knit 1.

--TECHknitter
You have been reading TECHknitting on: "Knit into the row below," also called "knit into the stitch below."

Provisional cast on--knitting up vs. knitting down

Back in December '06, TECHknitting featured provisional crocheted cast on. That post promised a future trick to get around a long-standing problem--that there is ALWAYS going to be one fewer loop working down than working up. In October '07, this blog showed another method of provisional cast on: the COWYAK method. In the comments to that post, a reader touched on the same issue, writing...

"When I unzip my provisional cast-on, why are there one fewer stitches going "down" than going "up," AND, what can I do about it?"

Look at your hand. If you are like most people, you have five fingers. But how many spaces do you have between your fingers? For 5 fingers, there are only 4 spaces between your fingers.

The same thing happens in knitting when you work the other way from a provisional cast-on. If you cast on a certain number of stitches and work "up," when you "unzip" the provisional casting on, you'll have one fewer live stitches to knit "down."

In other words, if you provisionally cast on 10 stitches and then undo the cast on, there will only be nine stitches waiting for you to pick up to knit "down." It's not a mystery--it's just the same thing as your fingers--ten stitches knitted "up" leave only nine spaces between them, and that's what you're picking up with the provisional cast-on--the nine spaces.

Of course, the "spaces" analogy is not perfect--we obviously have loops on the needle, not spaces when we catch the live loops from a provisional cast on. However, like the spaces between our fingers, these loops are the bars between the stitches, they are the stitch TAILS, not the actual loops themselves.

Below is a view of what this would look like in real life if you removed the provisional cast-on, took the needles out, and could make the fabric lie flat. See that complicated business on the right and the loop on the left? That's what happens when you pull out the provisional casting-on: The half loops of the rightmost and leftmost tails get pulled upwards to the next row, leaving only the full loops of the tails between the upwards loops: 5 upward loops make 4 downward tails, 9 upward loops make 8 downward tails. In other words, the pattern remains the same: always one fewer downward loops than upward loops.


Now, the upside (har!) is that there are at least two elegant ways to solve this problem. Actually, there is a very good third method which involves an alternative to provisional casting on, and a link will be placed here when that post goes live. For now, however, the two techniques...

TECHnique #1:
Let's say that you want to knit on 8 stitches. Try this trick: provisionally cast on 9 stitches. On the first and second row, knit all 9 stitches. On the third row, knit 2 stitches together (k2tog) where you think they'll be least obvious. In plain stockinette, see if you like the k2tog right in the middle, or if you find an edge less obvious. I vote for the middle of the row, but you must make up your own mind. On the illustration below, the needles and the provisional cast off have been removed, and the fabric has magically been made to lie flat. As you can see, the k2tog is in the middle of the row, picked out for you in green. There were originally 9 stitches cast on and worked "up," leaving 8 tails. However, after the k2tog, there are a matching set of 8 live loops at the top and bottom of this work.


To summarize this technique:

• Provisionally cast on one extra stitch
• Row 1 and 2: Knit every stitch going "up"
  
• Row 3: Somewhere along the third row, wherever you think it will be least obvious, k2tog to get rid of the extra stitch going "up."
  
• Rows 4 and following: knit normally
• when the time comes to "unzip" the provisional casting on, you will have the correct number of stitches to knit "down."

TECHnique #2:
If the trick of REMOVING an extra stitch going "up" doesn't grab you, here's another alternative which has you ADD an extra stitch going "down."

Provisionally cast on the correct number of stitches, and work all the stitches "up" normally. Unzip the provisional casting on, catch the live loops on your needle, and on the second or third row knitting "DOWN," add a stitch by the "invisible increase" method (click here for instructions).

To summarize this technique:

• Provisionally cast on the correct number of stitches
  
• Knit every stitch going "up"
  
• When you come to unzip the provisional casting on, you will find one fewer loops going "down."
  
• Pick up the stitches going "down" and knit for two rows.
  
• On the third row, add a stitch by making a nearly invisible increase.
  

Provisional cast on makes a 1/2 stitch discontinuity--a jog-- between where the stitches go "up" and where they go "down."

Not only is there always one fewer stitch going "down" than "up," but the offset between the tails and loops causes another problem, also. Specifically, when we knit "down" on the tail loops, the downward knitting is 1/2 stitch off the upward knitting.

Through an act of heavenly mercy, it turns out that stockinette is so symmetrical that this 1/2 stitch difference is very nearly undetectable in stocking stitch. To prove this is so, take any piece of stockinette fabric, look at it closely, then turn it upside down and look again. You will see that stockinette looks the same upside down and right side up. The only way you'll see the offset in stockinette is at the edge of the fabric, where the 1/2 stitch jog shows as a tiny bump on each side.

Other knit fabrics are not so forgiving. A continuous ribbed fabric would show a 1/2 stitch discontinuity between where the stitches are knit "up" and where the stitches are knit "down." To minimize this, provisional cast on is usually used along a border where the fabric pattern is going to change anyway: the classic location is at the border between the bottom band and the body of a sweater, or at the border between cuff and sleeve. Because the bottom band or cuff is likely to be made in ribbing, while the garment body or sleeve is likely to be made in a different pattern, the discontinuity -- the jog -- of the provisional pick-up line is disguised.


A quick aside: Do you wonder why you'd want to put the cuff on a sleeve via a provisional cast on? There are at least two good reasons to do it: 1. It makes it easy to replace the cuff, important for children's clothing. 2. It makes it easy to adjust the cuff length after the main garment has been knitted and can be tried on. You might want to put the bottom band on a sweater via the provisional cast on method for the same reason: picking up the bottom band and knitting it last would make it easy to adjust the final sweater length after the sweater body has been knit and can be tried on.

If you were making a garment with just one fabric pattern -- a pattern which would look bad with a jog -- you would have to arrange matters so that at the line of the provisional cast on, there would be several rows of pain stockinette stitch.

A common example is lacy scarf worked in a directional lace pattern. Specifically, in order to have the two lace patterns match at the lower ends of the scarf, you might want to start the scarf in the middle with a provisional cast on, and work first towards one end, and then towards the other. However, you might not want the 1/2 stitch jog to interfere with the continuity of your lace pattern. A classic solution is to design the scarf with a stockinette panel, as shown below.

Because the provisional cast on is in the middle of a stockinette fabric, there will be hardly any visible discontinuity where the provisional cast on lies--there will be a 1/2 stitch jog at the edges, but none in the middle of the fabric. Also, the shape of a scarf with a narrow stockinette pattern lies very well on the neck--the narrow bit goes around the back, adding no bulk behind the neck, while the pretty lace panels show in all their glory on the front. The best part about a scarf like this is that the narrow stockinette band has the same number of stitches as the lace panels--no increasing is required. The secret is that lace (pretty nearly any lace) is much wider than a stockinette fabric on the same number of stitches, due to all the yarn overs.

There is a scarf like this somewhere here at Chez TECH, but one of the little TECHlings has it hidden away. When found, a photograph of it will be added to this post...

(Some time later) Oh here it is!

--TECHknitter

You have been reading TECHknitting on: "Provisional cast on --one extra stitch going up, one less stitch going down; 1/2 stitch off in pattern"

Sigh...

As must be obvious, there is no tech editor at Chez TECHknitting. Accordingly, this blog sometimes gets disorganized. I thought we were heading for garment shaping, I've even knitted up a bunch of samples, but when it came time to write and illustrate all the tricks in the shaping, it turned out that there are still lots of techniques to cover first.

Accordingly, I've axed the previous post with its false promises about socks and garment shaping. Regardless of whatever was stated earlier, this blog simply hasn't progressed as far as garment shaping: not socks, not sweaters, not yet. Instead, for the foreseeable future, TECHknitting will be taking up the old torch again and concentrating on the TECHnique of making knitted fabric.  

Specifically, we'll start tomorrow with a post concerning provisional cast on--what to do about the fact that when you take out the provisional cast on, you'll have 1 less stitch heading "down" than you had heading "up."

Until tomorrow--

--TECHknitter

Sabbatical

Sabbatical-- Any extended period of leave from one's customary work, esp. for rest, to acquire new skills or training, etc. 

Hi All-I'm still here, but not a lot of blogging is happening (obviously).  The next topic is to be garment shaping, but it's such a large topic that it's hard to tell where to begin.  There have been several false starts, but no approach has yet proved satisfactory.  

In the meanwhile, however, it has been fun working on projects. There's been a knitting drought for several years at ChezTECH as the blog has been all-consuming.  Now it is as if a dam had burst, and I am churning out projects.  It is fun knitting with yarn again, rather than pixels.  

Evidently, TECHknitting is now officially on a sort of a sabbatical break--a substantial period of time off while my thoughts get reorganized and fresh energy is generated to post further.  Sorry to have been incommunicado for so long, but TECHkntting will be back--eventually--and I really hope to tackle garment shaping at that time. 

Thanks for your continued patience, and we'll hopefully meet again in the not-too-distant future.

--TECHknitter

Goodbye until September...

Dear Readers:

TECHknitting has come to that part of the year when summer travel shuts down the blog. This blog will be on summer vacation until the first week of September -- I am actually leaving the US for over a month, and will have no computer access during this time. (Guess I'll just have to knit -- darn!!)

Before the summer hiatus, however, TECHknitting will undergo its first real housecleaning since its founding. Between now and July 25, all the posts are to be re-examined, new links inserted where needed, and old links updated. Some illustrations will be replaced with corrected versions, and some nagging typos will be corrected. Also, all the indexes will be brought up to date.

If you subscribe to TECHknitting by way of an RSS feed (such as through Bloglines or Google Reader) you may see a flurry of activity that looks like lots of new posts, but this is just false signals being generated by re-posting corrected versions of previous entries. In other words, please ignore any "new post" messages: they are due to this upcoming period of maintenance. No new posts will be forthcoming until September.

Before we part ways for the rest of this summer, dear readers, I thank you for making TECHknitting a stop on your travels through the internet. We'll meet again in September, and when TECHknitting returns with new posts, the first topic will be PICKING UP STITCHES.

Have a good summer, and keep knitting!

P.S. One last thing: I will not be able to read comments, nor read or respond to e-mails at the TECHknitting@hotmail.com address between July 25 and September 7.

--TECHknitter

Matching 2 pieces of knitting without counting

click any illustration to enlarge
One of the most tedious routines in all of knitting is counting rows or stitches when you have to match two pieces. Is the sweater front as long as the back? Have you knitted both sleeves the same length? Are your two sock tops the same number of rows before the gusset starts? Here is a little trick to avoid all that endless counting and losing track and re-counting. Also, with this trick, you process both pieces at once (twice as fast!)

You will need:

• a small-gauge circular needle (or two small regular needles or dpn's)
• some safety pins or bobby pins
  

TO MATCH ROWS
without counting

In the illustrations below, two pieces of stockinette, one green and one purple, are being matched to make sure they have the same number of rows knitted. The illustrations all show the matching proceeding from right to left--the same way as knitting. However, there is no science to this--you can proceed from left to right just as well.

First, fold both pieces to be matched so that one column from each piece is just at the fold line, then hold the folded pieces pressed together. Pick the plainest possible columns in the work, a column with as few pattern complications as possible--ideal is a column of stockinette stitch in each item.

Per the illustration below, use one point of the circular needle to poke through both arms of the first stitch of the chosen column in the front piece (green), then poke the same needle through both arms of the first stitch of the chosen column in the back piece (purple). The first point (illustrated in black) is fully inserted under the first stitch in the folded column of the green fabric AND the first stitch of the folded column of the purple fabric.
With the second point of the circular needle (illustrated in yellow) poke through the next stitch along the row on the folded column of each piece. As shown below, you now have two needle points poking through two stitches on each of the two pieces of your work.
As shown by the red arrow in the illustration below, the next step will be to remove the black needle and poke it through the third stitch along the folded columns. In other words, you are going to leapfrog the first needle past the second--moving the black needle from the first stitch to the third stitch in the folded column of both pieces.
As shown below, you now again have two needles poking though the work. The reason I prefer a circular needle for matching is because it is harder to drop one needle as you do the leapfrogging part of the trick. However, if you do not have a small-gauge circular needle, small thin regular needles or dpn's will also work well.
As shown below, you continue in this manner, leapfrogging each needle one additional stitch up the folded columns, moving each needle in turn.
When you reach about 15 or 20 rows, run a safety pin (more secure) or a bobby pin (much, much faster) through a matched stitch. There is no particular science to the placement of the pin--the idea is to place pins often enough so that if you DO lose track, you don't have to go very far back to re-start the matching process.

When you get to the top of each column, you will easily see whether your two pieces match--does the last needle inserted go through the top stitch of each column, or does one column extend further? If so, either pull out the excess rows of the longer item, or knit extra rows on the shorter item.

IMHO,

• Matching is EASIER than counting--in both counting and matching you have to identify the next stitch but counting requires you to keep track the number of stitches, whereas matching does not. Obviously, you CAN count while matching--if you ARE counting, insert pins every 10 or 20 rows exactly to ease your double-check when you re-count--but the point is that with matching, you don't actually NEED to count--"losing count" is no impediment.
  
• Matching is FASTER than counting--because you are poking both items at once, it goes twice as fast as counting each item, one at a time.
  
• Finally, matching is MORE ACCURATE than counting because you are less likely to make a matching mistake than a counting mistake...

• matching is mechanical--easier to do in a distracting environment (TV anyone?)
• even when one needle is moved, the other one is pinning the work, making it harder to lose track
  
• placing pins make it easy to go back to double check--simply repeat the "poke-two-columns-at-once" procedure, and make sure all the pins are, in fact, inserted in matching rows of the folded columns
• matching by this poking method gives you a pointy tool in hand to explore any dubious stitches--helps avoid double counting one stitch or mis-identifying two stitches as one

If you have made beautiful, regular edges (by a chain selvedge or any other method) you can match along the edges, rather than along a folded column. However, experience dictates that in many cases, matching along a column is more accurate than along an edge, and this is especially true if there has been shaping along the edge.

TO MATCH STITCHES
without counting

The above illustrations and instructions show how to match length, row by row. The same procedure also works to match width, stitch by stitch (checking the width of two sleeves as they are increased, for example). Simply fold the two pieces so that there are two adjoining rows, then poke matching stitches along the row to count stitches.

--TECHknitter (You have been reading TECHknitting on: the easy way to match 2 pieces of knitting without counting)

Fully lining hats with polar fleece

click any illustration to enlarge
Lining handknit caps with polar fleece is a good trick to know. (Click here for further information about polar fleece.) Lining with polar fleece can make too-big hats fit, and it eliminates wool itchiness from sensitive foreheads.

TECHknitting blog has already shown how to line knitted hats with polar fleece headband style; today's post shows how to fully line a hat. Basically, with this trick, you make another hat of polar fleece, then sew that inside your knitted hat. With a lining in a heavy weight of fleece, the hat will be suitable for arctic expeditions--excellent where I live (Wisconsin)--but in more temperate climates, you may want to search out a thinner fleece for your lining so the hat won't be impossibly hot.

Step 1 (below): Polar fleece stretches more from selvedge to selvedge than along its length. Cut out a strip from the "wide" way on the fabric (as shown by the "direction of stretch" arrow). The strip should be approximately 10 or 11 inches high and 24 to 26 inches wide. This strip will become the inner lining hat.
Step 2 (below): Wrap the strip around the intended wearer's head with the "not-so-good" side facing out and pin it shut. It would be wise to wear the pinned strip around the house for some time--what seems comfortably snug on first pinning can come to feel ear-numbingly tight after extended wear.
Step 3 (below): Sew the tube shut as pinned. If you have a serger, use that. With a sewing machine you can sew a simple straight seam. If you are sewing by hand, use the back stitch.
Step 4 (below): Trim the excess from the seam. The illustration shows pinking shears, but you can trim with ordinary scissors. Polar fleece does not unravel, so you can trim closer than with woven cloth. An approximately 3/8 inch seam allowance is good, but bold souls can trim as close as 1/4 inch, while nervous sorts can trim to a standard 5/8 seam allowance. If you do have a sewing machine, you might wish to re-sew over the cut edge with the machine's zig-zag or overcast stitch, but this is not necessary.
Step 5 (below): Have the intended wearer try on the tube. Pull the tube down well over the forehead so that you don't accidentally make the lining too shallow. Pin shut the top of the tube so that it comfortably conforms to the shape of the wearer's head.
Step 6: Just as you sewed the back seam of the tube in step 3, so now you will sew the top of the tube shut. Let the actual sewing of the seam be approximately 1/2 inch above the pins, and this should allow plenty of wiggle room.

Step 7: Just as you trimmed the excess from the seam allowance in step 5, so you will trim the excess fabric from above the top seam. Use the same width of seam allowance as on the back of the tube--somewhere between 1/4 inch and 5/8 inch.

Step 8 (below): OPTIONAL Have the wearer try on the sewn-shut tube. At this point, if you like, you can adjust the shape of the tube to be more anatomically correct by flipping up the front of the hat until the tube sits comfortably on the head. Once the comfortable amount of front flip has been determined, mark the flip with a line of pins.
Step 9: If you did step 8, then in this step, you trim away the excess fabric from the front of the lining by trimming along the pinned line. You want to flip up and trim from the front, rather than the back so that you are not cutting through the back seam--cutting the back seam could possibly encourage that sewing in that seam to run out, while cutting in the front creates no problems at all. Remember, polar fleece fabric does not unravel.

Step 10 (below): You have now created a custom lining which will fit the wearer. At this point, you want to sew the lining into the hat. A polar fleece lining is sewn into a hat ONLY AT THE BOTTOM EDGE of the hat. There is no reason to sew it in along the top. By having the lining free-floating in the hat (attached only at the bottom edge) the hat will lay far smoother on the wearer's head than if the lining were attached at the top of the hat too.

Here is the how-to trick for pinning the lining evenly into a hat (or should I say--for pinning the HAT evenly inside the LINING!?)

Begin by turning the hat INSIDE OUT. Fit the lining OVER the hat, with the sewn seams of the
lining facing the inside of the hat. In other words,

• the hat will be encased, inside-out, inside of the lining
• the good side of the lining will be showing, and
• the not-so-good side of the lining (the side with the seams) will rest against the inside fabric of the hat.

Align the back seams.


(If you think you may have seen this diagram before, you have! This is the identical diagram from the post on headband-style lining, and, in fact, the two methods are the same!)


a: Holding the hat (gray shape) inside the lining (blue shape), S-T-R-E-T-C-H the hat and the lining with both forefingers into a long shape which can be stretched no further. This automatically centers the hat inside the lining. Pin the lining to the hat in these two spots.

Do you wonder how you can pin in the lining while your hands are inside the hat and band, stretching everything smooth? You can ask someone to help you, of course, but if you are alone, you can take a shortcut by pinning in one contact point BEFORE you start the stretching-out process, then pinch the hat and lining together where you find the second contact should go. Just be sure not to prick yourself with the pre-set pin, which would go right against one of your stretching fingers.

b. along one side, divide the length between the two pins in half by again stretching the hat and the lining until they can stretch no further. Pin this third contact point.

c. along the other side, repeat step b. Four points are now pinned.

d. again stretching between two contact points, set a fifth contact point at the half-way mark between two already-set pins.

e. repeat the "stretching to find the half-way point" 3 more times until a total of 8 contact points are securely pinned down.

f. the perfectionists among us may want to again halve each side length for a total of 16 contact points.

Do not be alarmed if the lining is larger than the hat OR if the hat is larger than the lining. Once you have sewn the lining in place, the hat and lining will fit one another very well. The larger item, whether hat or lining, is eased to the smaller one by means of stretching out the smaller item as you sew, stitch by stitch, with the pins in place to divide the sections equally so all the ease does not wind up in one big lump on one side of the finished hat.

Thus, a too-large hat can be eased onto a smaller lining by stretching the lining out as the hat is stitched to it. When the sewing is done, the excess fabric of the hat will be distributed in tiny little bite-size pieces all around the lining. As the lining is released from stretching--as it shrinks back to near its original shape--it will take the too-large hat with it. Similarly, hats made of heavily textured fabric (ribbing, cables) will "draw in" much more than the smooth lining. Accordingly, the hat must be gently stretched to fit the lining.

To explain in different words: "Ease as you sew" is sewing jargon for stretching the smaller item (whether hat or lining) to match the larger item (whether lining or hat) as you sew the two together. When you have sewn the garment and the lining together and you take your hand away, you will see that they both lay smoothly together, regardless of the fact that the smaller one has been stitched into a new, stretched position.

As to which stitch to use, you can follow these instructions for the overcast stitch. I highly recommend sewing linings into knit garments by hand, rather than by machine: the end result is nearly always nicer, and the hand-sewn overcast stitch allows for a flexible and comfortable connection between the lining and the hat.

--TECHknitter (You have been reading TECHknitting on: "How to line a knitted hat.")

Knitters have to eat, too (no-mess muffins)

Somehow, the recent lovely summer weather had put knitting out of mind. It may be heresy, but working with fiber has temporarily lost its appeal. Yet even when you put down your knitting, you still have to eat. Here is a recipe for no-mess banana muffins. There is hardly any clean-up and you can prepare ahead so you can pop these in the oven with very little delay.
The following recipe makes 12 standard size muffins.

Step 1: ZIPPER BAG

The trick to making these muffins no-mess is to use a zippered plastic bag.

step 2: GET READY

Put muffin papers (aka "baking cups") into your muffin pan and pre-heat your oven to 400 degrees.

Step 3: MIX DRY INGREDIENTS

Into your zipper bag, put
*1 3/4 cups of flour (white is tastiest, whole wheat pastry flour is a good runner-up)
*1/3 or 1/2 cup of sugar (avoiding white sugar? substitute the same amount of maple syrup BUT add the syrup to the wet ingredient in step 4)
*2 1/2 teaspoons baking powder
*1/4 teaspoon salt.
Seal the zipper, check the seal, then shake the bag until all dry ingredients are well-mixed.

step 4: BLEND WET INGREDIENTS

Into your blender, put
*1 banana (can be a super-ripe one you no longer care to eat)
*1 egg (vegan? substitute 3 oz tofu)
*1/2 cup milk (diary milk or soy milk, makes no difference)
*1/4 cup oil (avoiding oil? substitute 1/3 cup applesauce for the oil)
Whirl this mixture around until smooth. If substituting maple syrup for sugar, add the syrup in this step.

step 5: COMBINE WET and DRY INGREDIENTS

Open the zipper bag, pour the blender contents in, and re-seal bag, pressing out as much air as possible. Mash the mixture together, working the dry ingredients out of the corners. TIP: Radically reduce your clean-up time by taking a minute to fill the blender body 1/3 full of water, add a few drops of dish soap and run the blender at high speed until it fills with suds. Then, let the blender sit there soaking until you have the muffins in the oven.

Step 6: PARTIALLY FILL MUFFIN TINS

Work the muffin batter into the bottom the zipper bag by repeatedly drawing the bag between thumb and forefinger. When the mixture is at the bottom, open the zipper to allow in air. Reseal the zipper, test the seal, gather the top of the bag in your non-dominant hand and twist it several times, then tilt bag and squeeze gently so the air bubble is pressing the batter into one corner of the bag. With a scissors, cut the tip off the corner, lopping off about 3/4 inch along the long edge of the cut. Gently squeeze a small amount of batter into each of the muffin papers.

step 7: ADD YUMMIES

Lay the bag of batter aside, cut tip up, so it does not ooze batter onto the counter. Into the batter in the bottom of each muffin paper, press whatever yummies you think would be good--walnuts, pecans, raisins, dried cranberries, dried cherries, dried blueberries, diced dried apricots, whatever.

step 8: FINISH FILLING MUFFIN PAPERS and BAKE

Press equal amounts of the remaining batter into each muffin paper, then bake in a pre-heated oven at 400 degrees until done (about 12-15 minutes). If unsure, test with a cake tester or a toothpick. Let the muffins cool in the tin. If you insist on eating them hot, the bottom crusts will stick to the papers, but once cool, the papers can be drawn off without too much loss of muffin.

RECAP:

*Preheat oven to 400 degrees
*Line muffin tin with muffin papers (no need to grease them)

INGREDIENTS:
*1 3/4 cups of flour
*1/3 or 1/2 cup of sugar
*2 1/2 teaspoons baking powder
*1/4 to 1/2 teaspoon salt.
*1 banana
*1 egg
*1/2 cup milk, adding a couple of tablespoons if either the banana or the egg is small.
*1/4 cup oil

OPTIONAL YUMMIES:
*chopped nuts, any kind
*raisins or dried fruit

METHOD:
* mix first 4 ingredients in a plastic zipper bag--these are the "dry ingredients"
*blend together banana, egg, milk, oil --these are the "wet ingredients"
*combine wet and dry ingredients in the zipper bag, exclude air from bag, then mash dry and wet ingredients together until fairly uniform
*work mixture to bottom of bag, open bag and let in a big air bubble, then reseal the bag
*cut one corner off zipper bag, and, using the zipper bag as a pastry bag, squeeze small amount of batter into each prepared muffin paper
*add optional ingredients (nuts, raisins, etc)
*finish filling muffin papers

*Bake at 400 degrees until tops are brown and cake tester comes out clean (12-15 minutes).
*Let cool for easiest unwrapping.

As you can imagine, it is possible to mix together the dry ingredients the night before, so all you have to do for breakfast muffins is pop the wet ingredients into the blender, then pour those into the bag in the AM. Heck, you can keep several ready-made bags of muffin mix in the pantry, so you can have muffins any time you like.

At clean-up time, your muffin pan isn't usually messy because you didn't grease the papers, and the squeezing trick helps avoid dribbling batter onto the tin. The zipper bag gets tossed. The blender is a very quick wash-up if, as soon as you empty the blender, you take a minute to fill the blender with a little water, a few drops of soap and then a quick whirl to fill the blender with soap suds. In fact, with this pre-soaking method, there is usually no wash up of the blender at all--just a rinse.

--Good appetite from TECHknitter (You have been reading TECHknitting on: "no mess muffins")

Knitting helps science

Ladies? Next time someone looks down on your knitting? Just send them here.

How to make tassels

Tassels are very similar to pom-poms. They are a good trick to know because they use substantially less yarn than most pom-poms, and go quicker, too. Shown here are basic tassels, but you can really jazz these up quite a bit--you can put a bead or a bit of stuffing in the top part, you can wrap two or more "top parts," the variety is endless, and tassel-making is actually a fine and ancient fabric art in its own right. However, basic tassels look swell too, and make a very fine hat topper in just a few moments.

step 1 (above) get 2 pieces of straight cardboard and sandwich a yarn between (red in the illustration). The height of the cardboard corresponds to the overall height of the tassel. Although the illustration shows two pieces of cardboard, one double-height piece, folded over, works nearly as well.

step 2 (above) Wrap yarn (can be scraps) around and around the cardboard. The more yarn you wrap, the bushier the tassel will be. Yet, sparse tassels have their own charm so even if you have very little yarn left, a tassel is a good way to use it up.

step 3 (above) This is where it would be good to have an extra set of arms. You must pull up the tie-yarn from the middle of the cardboard, and cut the bottom of the tassels free. Lacking extra arms, pressing the works against the tabletop while cutting helps prevent the cut yarns from springing about and showering the room with stray ends. If you are using the lazy-knitter trick of folded cardboard, you pull the tie yarn to the open edge and cut along the folded edge.

step 4 (above) Take a length of yarn (pink in the illustration) and wrap it around the nascent tassel FIRMLY. The illustration shows two wraps, but 5 or 10 wraps is more common (although harder to illustrate!) You can use a contrasting yarn (as shown) or a yarn of the same color for the wrap. A yarn of the same color looks just as well, and hides the fact that you may not have made a perfect overlap where the tie-yarn ends. If you like you can do step 5 before step 4, which gives you more control over all the loose ends.

step 5 (above) Tie the center cord tightly, and use the tails from the center cord to attach the tassel. Some folks like the tassel to swing on the end of its own little cord, in which case you sandwich in a L-O-N-G center cord in step 1. After tying the center cord to make the tassel, you can chain-crochet or repeatedly knot together the two ends of center cord to the desired length before attaching the tassel to the hat (scarf, afghan, lap robe, sweater tie, etc). If you find that the tassel-ends are unraveling, you can knot the ends, as shown in the last illustration of this post.

--TECHknitter (You have been reading TECHknitting on: "How to make a tassel")

How to make pom-poms

Includes 8 illustrations, click any illustration to enlarge
A couple of days ago, a knitter on a community board asked how to make pom-poms. Immediately, the little voices in my head led me to sit down and illustrate this subject, even though this post was SUPPOSED to be about fully lining hats. Ah well--hats can wait a little longer, I suppose.

1. (above) The traditional way to wind pom-poms: Cut two cardboard doughnuts of the same size. Sandwich a yarn (illustrated in red) in between the two layers.

2. (above) Wind yarn (illustrated in green) over the doughnut, around and around, working the yarn through the center hole on each pass.

3. On illustration 2, you can see that the center hole is small. As you can imagine, it is something of a pain to wind the yarn through that center hole again and again. When I was 10, I had to make dozens of pom-poms for a project. Being as lazy as the next 10-year old, I figured that, per illustration 3 (above), if one-quarter of the circle form is cut away, it is MUCH faster and easier to wind the yarn around the resulting three-quarter pom-pom form, and the pom-pom comes out just as well. As shown, with a three-quarter form, as with the original full circle form, you begin by laying a yarn in between the two layers.

4. (above) As with the full circle form, wind the yarn around and around whole length of the three-quarter form, making sure that the center yarn does not get lost inside the form. The more yarn you wrap around the form, the bushier your pom-pom will be.

5. (above) Lay the form on a table and press it down firmly. Insert a scissors between the two layers of the form and cut the strands of pom-pom yarn where they pass over the outer edge of the form.

6. (above) Working carefully, pull up the center yarn tightly, then remove the form and lay it aside. Tie the center yarn in a very tight knot--this knot is what holds your pom-pom together. Refinements are possible: for example, you can wind the center yarn several times around strands once they have been cut free, knotting with every re-wind, or knotting just once at the end.

7. (above) Fluff the finished pom-pom into a three-dimensional shape. Trim off any oddly long strands. Remember not to pull on any one strand, or it will pop loose of the pom-pom. The ends of the center yarn can be used to attach the pom-pom to the hat top (or whatever else you are decorating). In real life, of course, your center yarn would be the same color as the pom-pom, and it will therefore be invisible.

8. (above)
a. Some yarns want to unravel when cut. In a very bushy pom-pom, this will not be a problem, because the yarn has not the room to unravel, but in a sparse pom-pom, you may face this issue.
b.& c. You can solve this problem by tying a little overhand knot (granny knot) in the end of each strand of the pom-pom yarn. A sparse pom-pom of perhaps 10 or 30 strands with each strand topped with a knot is quite charming--the knots give the strand ends a little heft and they swing about charmingly when you move and look like a little fountain, or a spray of fireworks.

One final note: You do not need to use a continuous strand of yarn to make a pom-pom. After all, you are going to cut the yarn into lots and lots of little pieces in step 5. You can wind little scraps of yarn over the form just as well as longer pieces--even if the scrap goes around the form only a couple of times, you can still use it--simply anchor it in place by overlapping its end with the next scrap. A pom-pom made of lots of scraps may shed odd bits where the center yarn did not catch the tail end of the scrap, but that is no particular problem--just comb out the pom pom AFTER you tie the knot, and these uncaught bits will fall right out.

Next post: how to make a tassel (we will get to fully lining hats eventually).
--TECHknitter (You have been reading TECHknitting on: "pom-pom how-to.")

The BEST way to attach lining fabric to knitting--the OVERCAST STITCH (part 5 of "hand sewing for hand knitters")

We come now to a stitch as useful to hand knitters as any stitch could well be--we come to the OVERCAST STITCH.

This stitch has the fabulous ability to attach a LINING to KNIT FABRIC in such a manner that the lining does not rip out of the knit garment as soon as the knit garment is stretched.

In a poll on this blog back in October, many, MANY knitters have indicated that they would like to learn to LINE their KNITTING. We have been easing into this subject -- TECHknitting has already given directions for lining a hat with a Polar fleece headband. And this is just the beginning of this complex topic--in the future, a whole series will be illustrated, showing just how to design and cut a custom lining out of lining fabric. However, all of this--simple linings and complex ones--hinge on the ability to SEW the lining in. And for this kind of sewing, the OVERCAST stitch is (as my kids say) "da bomb."

The illustration below shows a green lining being overcast stitched to a blue knitted fabric by a right handed sewer. (Click picture to enlarge.)
The close-up illustration below shows why this stitch works.(Click picture to enlarge.)

As you can imagine, attaching a lining to knitting is a challenge because lining is often made of WOVEN CLOTH, and woven cloth, as we all know, does not stretch very much. Knitting, on the other hand, is extremely stretchy. The stitch chosen to attach such dissimilar fabrics must have the following qualities:

1. It must be able to hold the woven cloth in place, even when the underlying knitted fabric is stretching
2. It must not stop the knitted cloth from stretching
3. It must provide a flexible connection between the woven cloth and the knitted fabric.

The overcast stitch gets a "A+" on all three factors. As stated in a previous post, the overcast stitch "tethers" the fabrics together rather than "nailing" them together. If you will look closely at the stitch in the close-up above, you will see that the lining fabric is actually "hanging" from the knitted fabric--in other words, the overcast stitch is acting as a little string from which the lining is "swinging." This "swing" allows the lining to adjust to the stretch of the fabric.

As the final illustration, below, shows, there is also quite a bit of thread reserve in the overcast stitch--the path of the thread resembles a coiled spring, and this coil of thread has the reserve to stretch when stressed.
We are leaving to a future time and a future post, the issue of how to cut the lining, how to provide "ease" in the lining (ie: how to make the lining enough bigger than the knitting so the lining has some "give" to it), how to seam the lining and how to hem the lining. In other words, today we have looked ONLY at how to SEW the lining, and--again--for this task, the OVERCAST stitch is unsurpassed.

--TECHknitter (You have been reading TECHknitting on: The over cast stitch--part 5 of "hand sewing for hand knitters.")

Part 4 of hand sewing for hand knitters: THE BACK STITCH

We're at part 4 of the TECHknitting series on handsewing for handknitters. So far, we've gone over two ways to start your thread, and one way (not to) sew it. Now we come to a very useful stitch --the BACK STITCH. The back stitch isn't much use in attaching knitted fabric to itself, but it is very useful for

• sewing up WOVEN cloth, or
• ATTACHING woven cloth firmly TO knitted fabric--sewing in a zipper, for example.

Before machine sewing was invented, the back stitch was widely used for general seaming of all sorts (seaming=sewing cut pieces of cloth together). The back stitch was also widely used for hemming (hemming=sewing folded-over fabric shut so as to conceal a cut edge).

Today, most folks substitute machine-sewing for the long, straight lines of stitches at which back stitch excels. Yet, back stitch remains a very useful stitch to know--even if you have a machine and prefer it, you may find that setting up the machine, threading it, and maybe having to wind a bobbin, takes longer than sewing a simple seam by hand--sewing shut a narrow head-band lining of polar fleece, for example.

For those without access to a machine, or those who prefer to work by hand, the back stitch would be an excellent choice for many types of sewing which hand knitters are likely to do: sewing up a purse lining or a sweater lining, or attaching a zipper.

So, without further ado, here is...

THE BACK STITCH, illustrated

1. (above) After you have anchored your thread on the back of the fabric, stab upwards with your needle, pulling it to the fabric face. Next, re-insert your needle one stitch length behind the point where it emerged. By "behind," I mean that right handed knitters, who are working from right to left, should insert the needle one stitch length to the right of where the needle first emerged, while left-handed sewers would reverse course, and insert the needle one stitch length to the left. This step ends with the needle on the back of the fabric.

2a. (above) At the end of step 1, above, the needle was drawn to the back of the fabric. In this step, the needle will be returned to the fabric face by stabbing upwards, ahead of the previous stitch. The distance between where the needle was stabbed down in step 1, and where it is to be stabbed up in step 2 is called a "stitch length PLUS."

The "PLUS" refers to the fact that you must stab the needle upwards at a distance FROM the last stitch of one stitch length PLUS the "interruption length" between stitches.

2b. (above) The "interruption length" is simply a fancy name for the distance between the stitches. If you skip ahead to illustration 5, you can see a variation on the back stitch called the "continuous back stitch," in which the back stitch is created with no interruption length. With no interruption length, the stitches touch.

3. (above) To complete the second stitch, again re-insert the needle one stitch length behind where it emerged. The path of the thread under the fabric is shown by the dotted line.

4. (above) Repeating steps 2 and 3 yields a line of back stitches. As you can see, the (dotted) line of the thread under the fabric is looped. This means that the back stitch takes quite a bit of thread--like an iceberg showing on the ocean's surface, the thread showing at the surface of the fabric is only a small fraction of the total amount.

5. (above) The variation called the "continuous back stitch" is illustrated here. To make the chain of stitches continuous on the face of the fabric, the "interruption length" has been diminished to zero. In other words, a continuous line of stitches on the fabric face has been made by stabbing the needle up EXACTLY one stitch length AHEAD of the previous stitch (as illustrated) then stabbing it down IN THE SAME HOLE as the previous stitch came up.

There is no particular structural difference between the regular back stitch (WITH an interruption length) and the continuous back stitch (NO interruption length) but the look is different, and some folks prefer one look over another.


6. (above) As with the running stitch illustrated in the last post, the back stitch can also be created by a shortcut method. However, this shortcut method is best reserved for thin fabrics--bulky fabrics would pucker by this method, so bulky fabrics are best sewn by the stabbing method illustrated in steps 1-4.

7. (above) Unlike the running stitch, the back stitch does not look the same on both sides. The back of the fabric shows the loops where the thread was "brought back" before the stitch re-emerges on the fabric face. This loop of thread attending each stitch is one reason why the back stitch is superior to the running stitch: those thread loops form a little reserve of thread which can adjust (somewhat, at least) when the fabric is stressed. Also, the loops distribute the stress on any one stitch over a greater area of fabric, which helps prevent wear holes where the thread emerges from the fabric, and helps protect the thread from snapping when stressed.

And yet...

Regardless of how important the concept of thread reserve is to hand sewers, hand knitters should BEWARE not to be misled. To hand knitters--accustomed to the great stretch of knitted fabrics--the scale of the stretch allowed by the thread reserve of the back stitch is negligible. It is only in the context of the relative inflexibility of woven cloth that the thread reserve in back stitch is worth talking about. For use on stretchy fabric like hand knits, the back stitch should only be used where a firm attachment is wanted between a piece of woven cloth and the knit fabric--inserting a zipper or a grosgrain ribbon backing on a button band.

Bottom line: the back stitch is an excellent stitch--a real workhorse stitch--for

• seaming woven fabric (attaching cut pieces of woven fabric together, permanently)
  
• hemming woven fabric (attaching a folded-over piece of woven fabric to itself to hide a cut edge and prevent it from unraveling) and
• attaching a woven fabric firmly to knitted fabric (hand-setting a zipper or a grosgrain ribbon, for example)

Next post--the overcast stitch (a.k.a. the whip stitch). The overcast stitch excels at attaching woven fabric to knitted fabric in situations where flexibility is wanted--inserting a lining in a purse or sweater, for example.

--TECHknitter (You have been reading TECHknitting on: the back stitch: hand sewing for hand knitters, part 4.)

Part 3--hand sewing for hand knitters--the running stitch

This third installment of the TECHknitting series on hand sewing for hand knitters is about the running stitch. The running stitch is iconic--say "hand sewing," and this stitch is what most folks think of first.

The advantages and disadvantages of running stitch are discussed below, but first, here are 4 illustrations showing the stitch itself.

HOW TO DO THE RUNNING STITCH

1. (above) In thin fabric, the running stitch is often done by the "shortcut method," creating several stitches at once. For right handed sewers, it is easiest to sew FROM right to left, as shown. (Left handed sewers should reverse course.)

* * *

2. (above) In the shortcut method, the needle is drawn through even "bites" on the fabric face, creating stitches of even length.

* * *

3. (above) In bulky fabric, the shortcut method will cause bumps and puckers, and this is particularly true where several layers of fabric are being stitched together. To avoid puckers, "stab down" on each stitch from the face of the fabric to the back, then return the needle by "stabbing up" from the back of the fabric to the face. Accomplished hand sewers, such as hand quilters, keep one hand above the fabric and one below, rapidly stabbing the needle up and down with each hand, alternately. When first learning this two-handed method, it is VERY easy to prick yourself with the needle, so go slow.

* * *

4. (above) Unlike some other hand sewing stitches, the running stitch looks the same on the front and the back.

ADVANTAGES AND DISADVANTAGES of the RUNNING STITCH

Hand knitters generally meet the running stitch in two different situations. First, it is often used to attach lining fabric to hand knitted fabric. Second, the running stitch is often used to sew up the lining fabric itself. Sadly, the running stitch is NOT actually good at either task.

To sew lining fabric to itself (such as to close the end of the Polar fleece headband shown in the TECHknitting post of April 25, 2008) the back stitch is a far better choice, and a future post will be show more about the back stitch. To attach lining fabric to hand knitted fabric, such as attaching the Polar fleece headband to the hat in the headband post, the overcast stitch, is a far better choice, and a future post will show the overcast stitch in detail.

The running stitch is a poor choice for hand knitters because, as shown in illustrations 1-4, above, the running stitch "runs" straight through the fabric. Without any reserve "slack," when running stitch is stretched, it is likely to snap. As you can imagine, once the running thread is snapped, the running stitches would quickly unravel. Every time you put on or take off a knitted garment, these non-slack stitches stress, and will eventually break.

Running stitch is really best for only one thing--BASTING (temporarily tacking fabric together before the "real sewing" takes place). After the real sewing, the basting is removed. When used for basting, the weakness of running stitch (it comes out easily) is actually a strength (you WANT basting to come out easily).

Now, as you know, basting today is uncommon because it is time consuming. The modern trend is to skip basting and use pins instead: to pin fabrics together and then do the "real" sewing on the pinned-together fabrics. When you HAND-SEW fabrics together, pinning is a sensible, time saving substitution for basting--hand sewing goes slowly, so pins in the way can readily be re-positioned. However, for MACHINE SEWING, especially for machine sewing bulky hand knits, pinning is a poor substitute for basting.

An example: suppose that you wanted to machine-sew a grosgrain ribbon backing onto a button band. If you were to PIN the button band (green) to the ribbon (red), each pin would make a lump in the fabric, as shown in illustration 5, above. At each lump, your sewing machine foot must climb up, over, and then down the other side. Unless you are an expert machine-sewer, the result is likely to be a wandering line of stitches, with each stitch likely a different length.

However, if you were to BASTE the ribbon (red) behind the button band (green) before machine sewing, the ribbon and the overlying button band would lie smoothly together, as shown in illustration 6, above. Basting makes it more likely that your precious hand knits will emerge from the maw of your sewing machine without incident.

Another hand-knitting application for a running stitch basting is before you machine-stitch a steek. If you've ever stabilized a steek using a regular machine foot, you may have experienced the heart-stopping realization that the machine stitching is s-p-r-e-a-d-i-n-g the hand-knit fabric substantially. Although the subsequent knit stitches picked up along the steek edge counteract the stretch, a line of running stitch basting with a sturdy doubled thread BEFORE machine stitching will help prevent this scary tendency to stretch in the first place.

Bottom line: running stitch is best reserved for those occasions when hand knitters need to baste. Running stitch is not suitable for permanent sewing, and especially not on stretchy hand knits.

added on May 5, 2008: A BIG THANK YOU to Honnay, who noted that the direction of sewing in the original version of this post was confusing. Thanks to Honnay's comment, the drawings have now been reversed, and a note about sewing directions added.

Next post: the back stitch.

--TECHknitter (You have been reading TECHknitting on: "the running stitch--hand sewing for hand knitters")

Part 2: handsewing for handknitters: starting off with a DOUBLED thread

Yesterday's post (starting a single thread in fabric--first knot) was incomplete, as I realized after it went live. Here is the missing part--starting off with a DOUBLED thread--first knot.

* * *

* * *

* * *

* * *

Next post: The running stitch

--TECHknitter (You have been reading TECHknitting on: hand sewing for hand knitters: starting a doubled thread)

Hand sewing for hand knitters: Starting off

Before TECHknitting turns to the subject of fully lining hats with Polar fleece, there will be an intermission. After publishing the previous post (lining hats, headband style, with Polar fleece) various communications have revealed that there is a certain hesitance among knitters (you know who you are!) to get involved in projects which require hand sewing. Yet, I know from a previous TECHknitting poll, that there ARE lots of handknitters who would like to learn to line knitwear.

Bottom line: for the next several posts, TECHknitting will focus on BASIC HAND SEWING stitches and techniques useful to hand knitters.

Today, we'll start at the very beginning: how to start your thread. The other posts in this series will include the running stitch, the back stitch, the overcast (whip) stitch and how to end your sewing (how to make the final knot). Once these techniques are illustrated, further posts about lining knitting will make more sense, I think.

* * *

The very beginning: anchoring your thread in the fabric (the first knot)
* * *
* * *
* * *
* * *

Next post: The running stitch

--TECHknitter (you have been reading TECHknitting on "basic hand sewing: how to start your thread)

How to line a hat, headband style, with Polar fleece

includes 14 illustrations
click any illustration to enlarge
Lining a hat with Polar fleece is a splendid idea for several reasons. First, if the hat is too large, you get a second chance to make it fit--you can ease the hat smaller by sewing in a correctly-sized Polar fleece lining. Second, Polar fleece completely alleviates "itchy forehead" syndrome. Third, for athletes and active types, Polar fleece "wicks" -- it draws moisture away. A hat lined with Polar fleece will remain comfortable long after a woolen hat is sodden. Finally, Polar fleece has many virtues of its own--it's cuddly, sturdy and comes in lots of pretty colors and prints. Oh--it's also very easy to cut and sew and it never, ever, comes unraveled. Further information about Polar fleece can be found here (post of April 17, 2008) .

There are really two methods of lining a hat--the headband method and the fully-lined method. The fully-lined method is warmer, while the headband method is less bulky and suits active folk well--more heat can escape from the crown of a hat lined by the headband method than from a fully lined hat. Today's post shows the headband method, while the full-lining method is described here (post of June 28, 2008).

* * *

1. (above) The first step is to cut your headband out of Polar fleece yard goods, as shown. The illustration suggests a 4" deep headband, which is generous. Some folks prefer a narrower headband, so experiment and see what suits you. Polar fleece is pretty cheap, so there's no real reason to be sparing with it.


2. (above) Once you've cut your headband strip, the method illustrated here lets you go forward without taking any further measurements--everything from here out is done intuitively, and the tape measure can be put away. For example, the headband strip for the lining is sized by wrapping it around your forehead and pinning it shut. Experience shows that it's best to wear the pinned headband around the house for a little while before you commit to sewing it shut. What seems comfortably snug at first can seem ear-numbingly tight after a quarter of an hour.


3. (above) When you're pinning the headband, arrange matters so the "good" side (green side) is on the inside and the "not so good" side (blue side in these illustrations) is on the outside. Then, once you have the length correct, sew the headband shut across the short end.


4. (above). Trim away the excess fabric at the seam. If you find a standard 3/8 inch seam allowance too bulky, you can cut it closer--Polar fleece does not unravel or fray, so you can get away with narrower seam allowances if you prefer them.


5. (above) Because you want to see the good side of the fabric when you peer inside your hat, you must put the not so good side against the inside of the hat. Therefore, flip the band inside out so the seam allowance (and the not so good side) are on the inside of the band.


6. (above) Flip the hat inside out, also.


7. (above) Slip the headband over the hat. If the hat has a back--a seam, perhaps, or a little knitting error you don't care to display on your forehead--align the seam of the lining with the hat back.


8. (above) Illustrations can take you just so far. For reality, there is nothing like a photo. As you can see from this photo, it often happens that the headband is far, far wider than the hat itself. This is because the hat is likely to "draw in" more than the band, especially if the hat is in a contoured fabric like ribbing. While this may look worrisome, it really isn't a problem, as you can see by skipping ahead: illustrations 12 and 13 are the "after" photos of this same hat.


9. (above) The next step is to pin the hatband inside the hat. Make sure to tuck the seam allowance flaps inside and smooth them down at this point.


10 (above) Here is the how-to trick for pinning a headband evenly into a hat (or should I say--for pinning the HAT evenly inside the HEADBAND!?)

a: holding the hat (gray shape) inside the lining (blue shape), S-T-R-E-T-C-H the hat and the lining with both forefingers into a long shape which can be stretched no further. This automatically centers the hat inside the band. Pin the band to the hat in these two spots--a 4 inch headband may require two pins at each contact point (as shown in illustration 11), a narrower band may require only 1 pin at each contact point. Do you wonder how you can pin in the headband while your hands are inside the hat and band, stretching everything smooth? You can ask someone to help you, of course, but if you are alone, you can take a shortcut by pinning in one contact point BEFORE you start the stretching-out process, then pinch the hat and lining together where you find the second contact should go. Just be sure not to prick yourself with the pre-set pin, which would go right against one of your stretching fingers.

b. along one side, divide the length between the two pins in half by again stretching the hat and the lining until they can stretch no further. Pin this third contact point.

c. along the other side, repeat step b. Four points are now pinned.

d. again stretching between two contact points, set a fifth contact point at the half-way mark between two already-set pins.

e. repeat the "stretching to find the half-way point" 3 more times until a total of 8 contact points are securely pinned down.

f. the perfectionists among us may want to again halve each side length for a total of 16 contact points. I myself wouldn't bother unless the hat was very large, smooth and light--a large man's cap knitted from sock yarn, perhaps.

If the band was far wider than the hat, as in illustration 8, you will find that the band is puckering where it is pinned onto the hat. This is normal, so don't worry.


11. (above) Now we come to the sewing. The trick here is to smooth the hat to the band by stretching as you sew. Use a sharp-pointed needle and polyester sewing thread. I use a single strand, but some folks prefer a double strand. The fact is, polyester sewing thread is very, very strong. So strong, that it could end up cutting the woolen yarn of your hat if you are not careful about tension. You do NOT want to pull the thread up so tight that there is no slack--this is what causes the thread to want to cut the yarn. On the other hand, you also do not want to to sew so loosely that loops of thread lay inside the finished hat. Practice makes perfect in this, as in so many skills.

The best stitch for sewing linings into stretchy woolens is the overcast stitch. This overcast stitch is particularly good because it allows a certain amount of extra thread to remain in the fabric, which permits stretching without popping the thread or tearing the woolen fabric.

The overcast stitch is also an excellent choice because the thread "tethers" the two pieces of fabric (hat and lining) together, rather than fastening them unmovingly to one another. To draw an analogy: suppose you wanted to attach two pieces of wood together in a manner which held them firmly, but still let them move. The overcast stitch is like attaching the two pieces with short lengths of chain: with chain, the two pieces of wood remain free to swing past one another, and this degree of movement is desirable in a lining. By contrast, a firmer stitch would be more like nailing the two pieces of wood together. Yet, "nailing" the lining onto the hat would make the thread tear as soon as one fabric stretched more than the other--not desirable in a lining for a stretchy knitted item.

If you click on illustration 11, it will enlarge enormously, and you can see a closeup.

• At the hat edge, you'd want to pierce right through a strand of yarn--use the sharp point of the needle to catch two plies of a 4-ply yarn for example.
• At the Polar fleece edge, you want to catch a little dollop of fabric from the fabric face, as illustrated. Using your needle to catch a little dollop from the fabric face forces the cut edge of the fleece to roll to the inside. This little roll hides the cut edge of the fleece from view, making a very lovely transition line between the fleece and the knitting (click to enlarge illustration 12 for a closer view)
  

HOWEVER, catching that little dollop of fabric from the face can be frustrating with fleece, because sometimes your needle just catches fuzz, instead of scooping up the little dollop you want. So, although, the rolled-in edge is very beautiful, yet if the frustration factor of this sort of perfectionism is going to stand between you and a lined hat, then sew the headband in by whip stitching right through the cut edge of the Polar fleece, and to heck with it! This stitching is inside a hat, after all, not on the lead item in a fashion parade.


12. (above) Here is the final result from the inside. As you can see, the excess width of the band, as shown in illustration 8, has been eased to the hat. When the hat is put on, all those puckers disappear, and the hat lies smooth against the head.


13. (above) There is something of a line where the edge of the headband lies. If you don't care for that look, stay tuned for a future post on the method for fully lining hats with Polar fleece.

14. (above) ta da!

--TECHknitter (You have been reading TECHknitting on: how to line a hat with Polar fleece, in the headband style)

Polar fleece: an excellent fabric to combine with hand knits

If you're a hand-knitter who's never used Polar Fleece, you have a wonderful surprise waiting for you! Although it is not without drawbacks, Polar fleece is EXCELLENT when used in small amounts for lining hand knits. THIS TECHknitting post shows how to line a hat with a polar fleece, headband style, while THIS TECHknitting post shows how to fully line a hat with Polar fleece without measuring anything, just by using your head and your finished hat as the template. But before all that, here is a free-standing write-up on just what Polar fleece is, its advantages, disadvantages, and characteristics.

WHAT IS POLAR FLEECE?

Polar fleece is the name for a certain type of fuzzy, stretchy KNIT yard goods invented by Malden Mills. (Malden Mills, you might remember, is the corporate feel-good story of the 1990's. When the factory burned down, the owner, Aaron Fuerstein, didn't close down or move overseas: he used millions from his insurance money to keep the workers on full pay and benefits as he rebuilt the mill). The company was eventually sold, and is now called Polartec LLC, with "Polartec" also being the brand name of their very premium fleece. You can buy generic fleece at big-box fabric stores, and that kind is good enough for linings. If you want the really good stuff, Polartec brand fleece is available at high-end stores as well as on-line. Polar fleece is also called "microfleece," although (confusingly) this name is also used to indicate thinner yard goods, like those used for undershirts or pajamas.

Fleece is an entirely synthetic fabric made from PET plastic, often from recycled soda containers. The plastic is heated, then turned into thread by extruding it through shower-head- like nozzles. Giant machines then use this extruded thread to knit enormous tubes of fabric, usually with with loops on both sides like a towel, although single-sided fleece continues to be produced. The loops are "napped" into fuzziness by more giant machines, then trimmed to a uniform length like a velvety shag rug. (Read more here.) Fleece is made in different thicknesses, with the medium thickness (called "200 weight") being the most all-around useful.

WHAT'S WONDERFUL ABOUT POLAR FLEECE:

There are several truly WONDERFUL things about combining Polar fleece with hand knitting. Not least among Polar fleece's marvels is that ANYONE who can sew AT ALL can make a really nice job of using it as a lining. (Really!)

1. STRETCHY: because it is knit, Polar Fleece stretches. This means that if you line a handknit with Polar fleece, the garment will continue to be stretchy. This is very different than using woven material to line a handknit. Woven material does not stretch very much, and what little stretching there is, is on the bias. Translated into regular English, this means that you have to use a lot of little dressmaker's tricks to successfully line a (stretchy) handknit with (not-stretchy) woven fabric. By contrast, very few tricks are needed with Polar fleece because the fabric is so similar, stretch-wise, to handknit fabric. In other words, the stretch-factor means that if you can operate scissors, thread a hand-sewing needle, and do the simplest sewing stitch, you can make a good-looking Polar fleece lining for your handknit hat (Really, really!)

2. CUT-AND-SEW: Although it is a knit fabric, Polar Fleece is heat set, so it will not unravel like handknit fabric does (or like woven cloth does, either). This means (frabulous day!) that you can cut it and sew it without having to worry about hemming it. (Polar fleece is simple to use!)

3. NAP HIDES THE SEWING THREAD: Polar fleece is so fuzzy that your sewing thread will sink right in. This means that if you hand sew with a small stitch and a single strand of polyester thread, and then run your thumbnail firmly several times over the stitches, the nap will rise up and completely hide your sewing. (NOW do you believe that your lining will look great?)

4. NOT ITCHY: Polar fleece is well-tolerated. Most people don't find it itchy at all, not even pressed against ears or neck. Picky little kids who flail and fling themselves to the ground at the approach of a disliked garment don't scream or fuss at the touch of Polar fleece.

5. DRY: Polar fleece "wicks." This means that it draws moisture away from your skin. Even after WAY too many hours of sweating into a Polar-fleece-lined hat on a cross-country ski slog adventure, your forehead will be dry, long after the woolen outer shell is soaked.

6. LIGHT-WEIGHT: if you line a hat with Polar fleece, you won't notice any additional weight.

7. EASY-PEASY TO WASH: washing Polar fleece couldn't be easier: It doesn't shrink, it's tough enough to be endlessly machine washed and dried, yet it sheds dirt so easily that hand-washing with a swish through sudsy water cleans it just as well. Therefore, fleece is suitable to line any sort of hand-knit hat, ranging from the most delicate "hand-wash-dry-flat" mohairs, through hardy superwash wools, and all the way to bombproof wash'n'dry acrylics.

8. CHEAP: a quarter yard won't set you back more than a couple of bucks, and will line a whole bunch of hats in the headband style, and even a couple of hats in the fully-lined style. That's because this stuff is seriously WIDE -- somewhere around FIVE FEET -- the denser stuff measures 58 inches, while the thinner stuff measures up to 68 inches wide.

WHAT'S NOT WONDERFUL ABOUT POLAR FLEECE:

With so many excellent qualities, you just KNOW there are some downsides, and so there are.

1. FLAMMABILITY: This is the very biggest disadvantage. Regular Polar Fleece is horribly flammable. Just like the plastic it is made of, it goes up like a torch. Nowadays, there ARE fire-retardant fleeces (mainly for military and fire-fighter use) but you have to really hunt for these. It is for fear of fire that I, personally, feel best about using Polar fleece in small amounts. Specifically, I use it mostly for lining the inside of nice, safe wool hats, with the wool on the OUTSIDE. Certainly, I would never, EVER sew a non-flame-retardant fleece garment for an infant.

2. NOT GENERALLY WIND RESISTANT: nowadays, it IS possible to find windproof fleece, but, like the fire retardant ones, you really have to hunt for these, and when you find them, they're rather thick and stiff. Ordinary fleece, like that at big-box fabric stores, lets the wind through. As a lining for a close-knit woolen cap or under a windbreaker, no big problem--for a garment on its own, avoid!

3. STICKY: most linings, especially arm linings, are slick, which is why you can pull your ski jacket or dress coat over a woolen sweater. In a small garment like a hat, a Polar fleece lining is no particular problem, especially as hair is fairly slick. However, an outerwear jacket lined all in fleece would be nearly impossible--you'd stick like a bug in a web as any sweater you were wearing tangled with the fleece jacket lining.

4. STATIC-Y: fleece is very static-y, more static-y than any wool, and the electric shock factor in dry winter air can be VERY annoying. This is another factor which usually leads me to restrict the amount of Polar fleece in garments I make.

5. MELTS! Polar fleece will melt under the heat of even ordinary ironing. This means that steam blocking an wool hat lined with fleece is out. Avoid the iron and wet-block, instead.

To be sure, other than the fire issue, the good FAR outweighs the bad. Polar fleece is as close to a miracle fiber as you can get, and WILL look good as a headband lining or a full lining in even the fanciest hand-knit hat. Even if you never thought of using it before, if you should ever find yourself in a fabric store, snag a quarter yard to mess around with, and see for yourself.

CHARACTERISTICS of POLAR FLEECE YARD GOODS

As stated above, Polar fleece is knit in giant tubes. After the tube is knit, it is slit open. When the fabric is finished, it is folded in half and wound onto bolts to become "yard goods," (fabric sold by the yard, rather than the piece or panel). At that point, the slit-open edges are the LONG edges of the fabric. These lengthwise edges--the "selvedges" of the material, are not napped (not fuzzy)--they are naked looking.The BAD thing is that, since the edges were slit open, and because they are all naked-looking, they are a bit raggedy. This means that, unlike woven cloth where the selvedge is a valuable part of the cloth (because it doesn't unravel) you wouldn't want to use a fleece selvedge right at the edge of a lining, where it might show. If a selvedge are still attached to the piece of Polar fleece you plan to use, either cut it off, or fold it under and sew it to the inside--between the lining and the hat. The GOOD thing about the naked, un-fuzzy selvedges is that you can use them as landmarks when you come to sew with Polar fleece.

To explain: The S-T-R-E-T-C-H of Polar fleece is directional--it stretches a great deal from side to side (from selvedge to selvedge) but stretches far less along the length. BE CAREFUL that you cut a headband-lining or a full lining so the direction of stretch is going AROUND your head (the long way of the headband-lining) NOT "up and down" on your head. Having the stretch go AROUND you head will be far kinder to your ears and forehead!

Double-sided polar fleece comes in two flavors:
1. the (expensive and relatively rare) fancy kind that is really two different fleeces fused together--a truly reversible fabric, which may even be a different color on each side.
2. the (far more common) "regular" kind which has a thicker "good side" and thinner not-so-good side.

On "regular" double-sided fleece, the good side pills less and is denser and nicer than the not-so-good side. To tell the truth, this ISN'T VERY IMPORTANT for lining a kid's hat, or a sweater for the dog. But if you're lining a hat for the new boyfriend, or that fancy creation to hand around at your next guild meeting, you probably want to keep track of which side is which. Usually, you can tell by just looking and feeling--the denser fuzz is on the good side. If you're unsure, ask the nice ladies at the fabric store to tell you, then mark the good side with a pin or a piece of tailor's chalk.

Another thing hand-knitters can mostly ignore is "nap." This means that the little velvety cut loops, the "fuzz," runs directionally. If you're sewing two pieces together, it would look more pleasant if the nap caught the light the same way--if it ran the same way on each adjoining piece. For 99% of handknit lining applications, however, you can ignore nap--this info is just here so if you decide to abandon knitting & take up sewing as a hobby, you'll be all set.

Next time: how to line a hat with a fleece headband.

--TECHknitter (You have been reading TECHknitting on: Polar fleece--information for hand knitters.)

QUICKtip: softening itchy wool

Many thanks to the readers who sent condolences by e-mail. The recent death in the family was of an elderly relative who had been demented for many years. Death itself, of course is sad, but perhaps even sadder was the dementia--a horrible disease. My heart goes out to anyone who is suffering this condition, and also to the relatives providing care. Knitting can help, at least a little.If the patient once knew how to knit, the fingers may retain the skill even when the mind is going, at least in the milder, earlier stages. Knitting also helps the caregivers--takes your mind off the situation. Thank you all for your good wishes and your patience with this hiatus, and now, back to our regularly scheduled blog...

Have you a woolen hat* which is itching your (or someone else's) forehead? You could line the hat -- the next couple of posts after this one will show how. But before you go to the trouble to line your creation, today's post will show an easy solution you might want to try first.

<---Yup! Hair conditioner.

Here's how:

1. If the hat needs to be washed, wash it gently in tepid (room temperature) water, then rinse, in the same temperature water, until all the soap suds are gone. If the hat does not need to be washed, then simply soak the hat in tepid water until it is completely wet.

2. Gently press all the water out. Make up a new basin of water of the same temperature, and into that basin, dissolve a tablespoon or two of hair conditioner.

3. Swish the wet hat through the solution, then let it sit for about 5-10 minutes. Again gently press out the water. Do not rinse out the conditioner.

4. BE CAREFUL not to agitate the hat or felting will result. Swish, swish, swish--that's all you need to do.

5. Roll the item in a heavy towel, step on the towel/hat jelly-roll to press out all the water,unroll, then lay the hat on another, dry, towel. Pat into shape and let dry.

Some hair conditioner leaves a sticky trace, some does not--if it leaves your hair feeling sticky, it'll probably leave your hat feeling sticky, so use a different kind. Conditioner that leaves your hair soft and smooth will do the same for your woolens. Also, the kind of hair conditioner to use for this trick is the ordinary supermarket kind for "normal hair." Specialty hair conditioners (volumizers, curl releasers, chemical damage-repair conditioners and the like) may have odd interactions with wool. If in doubt, try your conditioner on a swatch, first.

If you try this trick and it does not sufficiently "de-itchify" your hat for you, then stay tuned for future posts on how to line hats with fleece.

* Of course, this trick works for all woolen garments, not just hats. Scarves and mufflers--in contact with delicate neck skin--generally benefit from conditioner's softening properties, also.

--TECHknitter
(You have been reading TECHknitting on: softening itchy wool with hair conditioner.)

Resuming in April

Dear readers:

Due to a loss in the family, TECHknitting will be on hiatus until some time in April.

The next two posts will be about two different alternatives to avoid "itchy forehead" syndrome arising from woolen hats.

--TECHknitter

Why block hand knits? Here's why (and how)!

includes 2 illustrations, click any illustration to enlarge
As to the "why" of blocking: here is a "pocket hat" (made of wool) before it is blocked:

Here's the same hat after it is blocked:
I believe these pictures speak for themselves, and hope that you will consider blocking your newly-finished woolen knitwear to get a similar improvement in looks.

As to the how-to, blocking could make a little book in its own right. There are as many methods to block items as there are knitters--inevitably, there are some strong opinions out there on the "right" way. Here's my own little process to get from unblocked to blocked by the full immersion (a.k.a. "wet-block") method. (For steam blocking, click here.)

1. I swish the newly made item in a sinkful of tepid (barely warm) water, using enough water so that the item floats in the sink loosely. No kneading, scrunching, or manhandling: just swishing.

2. Once the item is completely wet, I drain the sink and press the item against the sides and bottom to gently squeeze out as much water as possible.

3. Supporting the item in my hands and against the sink sides and bottom, so that it NEVER sags under its own weight, I squeeze it snakewise--hand-over-hand.

4. Again supporting the item to prevent sagging, I lay it out in a thick and thirsty bath towel. This first lay-out is rather rough, but at the least, I make sure no parts of the garment overlap one another. I roll the item and the towel together, lay the roll on the bathroom or kitchen floor tile and step all over it, barefoot. Doing it in shoes would really dirty the towel, doing this in socks would get my socks wet, doing this on a carpet will make the carpet wet--a LOT of water gets pressed out in this step.

5. Next step is to unroll. Again supporting the item with my hands, I lay it out on a DIFFERENT, dry towel. What happens next depends on the size of the item.

• For small items like hats, mittens, and kid's sweaters, I pat, tug and smooth the item into shape and let it dry. With the "pocket hat" of the intro photos (which was knitted relatively firmly) I actually grabbed it at the brim and at the top and gave several mighty tugs lengthwise before smoothing.
• Larger garments such as sweaters are sometimes tugged, patted and smoothed, or sometimes they are pinned out. Lace and other openwork with edges which have to be "dressed" into points and scallops are also pinned. For pinning, I lay the garment, on its second towel, over a yielding surface--a bed, sofa, fridge box or thick carpet--if a carpet, maybe with a clean sheet spread out to avoid carpet dust and sheddings in the project.

6. Allow the item to dry. Waiting for it to dry completely is actually the hardest part of all--at least for me. That damp, newly knitted item sings such a siren song that I can hardly stand to leave it alone. If it is really drying absurdly slowly, I speed things along by switching in a new, dry towel, or putting the towel up on a flat-top laundry rack to improve air circulation. The hat of the illustration dried overnight on a towel placed on a laundry rack, cunningly positioned three feet above a hot air register. Knits dry even faster laid flat outdoors on a lawn chair when it is warm and windy, but do this in the SHADE. Knits dried in full sun will bleach and become coarse and odd.

7. Elapsed time? 5-10 minutes (well, except for the drying of course--which takes forEVER). And ... that's it--a beautiful new item, W-A-A-Y more professional looking than the same item in the "before" stage.

I'll end with a couple of FAQs (frequently asked questions).
Q: Do you have to go through all this every single time you wash a woolen hand-knit?
A: Sadly, yes. The good news? It becomes second nature after a few times. Also, if washing a soiled item, you start by swishing through soapy water, then plain water, then all the other steps. For washing (but not for a first blocking) I personally use a drop or two of concentrated hand dish soap (NOT dishwasher machine soap!), then rinse twice.

Q: Blocking or washing makes me nervous. What if I ruin my garment by felting it?
A: Felting requites a combination of wetting AND agitation. You can't avoid wetting wool when you wash it but you CAN avoid agitation. Number one precaution: DO NOT WRING OR KNEAD!! Instead, swish, then squeeze gently but firmly. Also, I attribute a good deal of felting-prevention to step number 4--the barefoot walk all over the jelly-roll of handknit and thick towel. This really removes water effectively and quickly, but does not cause any rubbing or wringing action. Oh--one more thing: temperature shocks encourage felting, so avoid them. Make sure your water is always at a mild, tepid temperature. For this same reason, even if you want to speed along the drying, don't overdo exposure to hot dry air--a dryer, for example would certainly result in felting.

--TECHknitter (You have been reading TECHknitting on "why you should (and how you can) block hand knitting")