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

Have you a woolen hat* which is itching your (or someone else's) forehead? You could line the hat with polar fleece in a headband style or in a fully lined style. 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 click the links at the top of the column for information about lining knitting with polar 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, and this works for itchy sweaters, too.  

--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")

A truly flat hat top (and part 4 of "pocket hats")

5 illustrations, click any illustration to enlarge
*reminder--like the other posts in this series, the top part shows the general directions, the bottom part, directions for the KAL of the "pocket hats" which illustrate the post

For years, a truly flat hat top in ribbing eluded me. With spiral decreases, no matter how ferocious the rate of decrease, the darn thing never lay flat, nor could I find a suitable pattern for progressively eliminating ribs. With "all-at-once decreases" the ribs became even more distorted and the darn thing still wouldn't lay flat--the 12, 10 or 8 stitches at the top would form a little nipple when the yarn was drawn through--not quite the thing. On both kinds of decrease, the needles at the top of the hat went slipping out as fewer and fewer stitches remained. But today, I go on my way rejoicing, because a few months ago, a new trick revealed itself to me, a ...

TRULY FLAT TOP
for a ribbed hat

This hat top features 5 decrease rounds and a final working together at the top, 6 steps in all: these are labeled steps A through F on the illustration, and are described in the text. Step D is not labeled on the illustration because it is only a minor (although mathematically important) decrease. Some of these steps are ordinary decreases with which you are familiar: knit 2 together (k2tog) and purl 2 together (p2tog), but some of these steps have a little trick involved.

In the top part of this post -- the general directions -- the number of plain rounds to work between the decreases is left vague, partly because much depends on the yarn you're using: baby weight requires more plain rounds between decreases than does bulky yarn. In the bottom part of this post, round-by-round directions are given for the hat top in double knitting weight (DK, also called "light worsted") and you can use these row-by-row directions as a starting point, adding plain rows for thinner yarn, subtracting for thicker.

Part 1: general directions for the truly flat hat top

STEP A (decrease on the purl ribs)

This first round of decreases features an ordinary decrease done on the PURL stitches. Written succinctly:

• *purl 2 together, knit 2* all the way around the first decrease round

Hidden in the purl ribs, the purl 2 together (p2tog) decrease will never show on the outside (although it does show inside). After this decrease round, knit several rounds without decreasing in the new pattern (k2,p1), and that is the end of step A.
One little note before leaving step 1: On a 2x2 ribbing, the rate of decrease in step A leaves 3/4 of the original number of stitches on your needles.

Step B (decrease on the knit ribs)

On this step, a knit 2 together (k2tog) decrease is done on the knit ribs. However, there is TRICK: an extra round added, a set-up round where only the purl stitches are worked, while the knit stitches are not worked at all, only slipped. As shown in the illustration, working the k2togs WITHOUT the set up row results in flabby, slanted stitches, while WITH the set up row, the stitches are more upright.
Including the set-up row, written succinctly, step B is in 2 rounds:

• round 1 (set up round): * p1, slip the 2 knit stitches of the knit rib purlwise, while holding yarn in back* all the way around the round.
• round 2 (decrease round): *p1, k2tog* all the way around the round.

By inserting an extra round of purls but not knits, the knits are forced to stretch upward. Of course they will slant somewhat, but with much their slack devoted to stretching up that extra round, the k2togs will lay smoother and more upright than if the slipping row were omitted.
Three little notes before we leave step B:

• After this step, you will have 1/2 of your original stitch count on the needle.
• From here on out, when you come to count rows, it will look like you lost a row -- if you find that you need to count rows, the row on which you slipped the knits will be invisible--you won't be able to see it unless you turn the work inside out to count rows!
• Performing the decreases on this round will certainly result in so few stitches that they cannot POSSIBLY be stretched around a circular needle, however short. Therefore, if you were not already working on double pointed needles (dpn's) or by the magic loop technique, you would have to switch to one of those techniques now.
  

Step C (decrease away all purl ribs, change gauge)

The problem now is that there is STILL too much yarn and too much slack to make a hat top lay nicely flat. So the little TRICK of this step is to CHANGE GAUGE. Yes, simply by knitting with a smaller needle (2 sizes smaller works well) you'll be putting a lot less yarn into the hat top, and that'll help a lot with laying smooth.

Changing gauge is not a conventional method of decrease, so it bears repeating one more time: by switching to a smaller needle, you are putting a lot less yarn into the fabric, and this creates a decrease all by itself. In other words, you will now: *switch to needles 2 sizes smaller and use these smaller sized needles for the remainder of the hat top.*

As it happens, in step C we NOT ONLY want to tighten up all the future stitches we are going to knit, but we ALSO want to decrease away even more of them. Therefore, IN THIS SAME ROUND that you're switching to smaller needles, you are ALSO going to do another k2tog decrease all around.
The k2tog's will look best if you arrange matters so that the purl stitch lays behind the knit stitch when the k2tog is finished. Written succinctly, and incorporating the previous part about smaller needles, step C can be summarized:

• arrange matters so that one purl stitch is on the tip of your left needle, with a knit stitch the left of that. *Knit together the knit stitch with the purl stitch* all the way around the round, using the smaller needles.
  

As you can see from the illustration below, the combination of gauge change and decreases results in a very pretty and very distinctive change in fabric. After this decrease, work an additional round or 2 with the smaller needles and this will end step C.
Two little notes before leaving step C:

• After this step, you will have 25% of your original stitch count on the needles.
• In this step, you work away all the purls, and all the rest of the hat top will be by means of knit stitches only.

Step D (another set up row, possibly with decreases)

In step D, you're going to decrease away as many stitches as are needed so that at the end of the step, you'll have a multiple of 4 stitches on your needles. If the number of stitches on your needles is ALREADY divisible by 4, then you're all set, just knit a round plain. If you wonder WHY you need a multiple of 4, there is a green paragraph of explanation. If today is not a "why" day for you, just scroll past.

In Step F, the last step, you Kitchener-stitch (graft) the top of the hat together. Step E-- just before that final grafting--is a last decrease round in which you're going to decrease away the remaining number of stitches by half. So, in order to have the correct number of stitches for steps E and F, this step--step D--gets rid of any extra stitches which would throw off final stitch counts. In other words, this step, D, is a "set-up round." As you may remember from middle-school math, only numbers which are multiples of 4 (4, 8, 12, 16, 20, 24, 28, 32, 36, 40 or 44, etc.) will yield an even number when further divided by 2. In other words, round E gets rid of half the remaining stitches, and the number of stitches at the end of round E has to be an even number of stitches, so rounds E and F will only work if we use round D to decrease away any leftover stitches ahead of time.

Written succinctly, in step D you must proceed as follows:

• If on your needles, you have ANY NUMBER OF STITCHES DIVISIBLE BY 4, you're all set: just knit one round plain. If, however, you have ANY OTHER sort of a number, you must use this step to bring the number of stitches on your needles to the nearest multiple of 4 by knitting 2 stitches together as many times as needed. You can simply put the necessary number of decreases anywhere at random in this round, just so long as you don't put them next to one another.
  

Knit one additional round plain (no decreases) and that is the end of step D.

Step E (last decrease round)

This step is simply a round of k2togs--and it is the last decrease round. The only thing remarkable about this round is that these last decreases are a bit miserable. As a result of previously switching to smaller needles in step C, these stitches are already at a very small gauge. Knitting two together at this gauge (and on so few loops) means stitches that just want to POP off the needle. However, persevere, because the final result is worth it.

To make it easier, the little TRICK in this step is that you can either use a smaller needle (a tiny sock needle) OR a crochet hook to work the actual decreases, then replace the resulting loops back onto the needles you have been using (replacing the stitches back on the needles they came from assures that these last loops are of the correct diameter for step 6, replace the stitches RIGHT ARM FORWARD so they are in the correct position for step F).

Step F (graft--a.k.a. Kitchener stitch--the hat top shut)

Arrange the stitches so that they are divided in half. If you are working on dpn's, arrange 1/2 the stitch count on each of two needles. If you are working by magic loop, put 1/2 the stitch count on each needle of your magic loop set-up. The grand finale, the final TRICK of this hat top, is to graft the top together. (Click here for an easy method of Kitchener stitching.)

Kitchener-stitching the top shut achieves three big aims:

• first, the short lengthwise graft pulls the entire top into the pleasant-looking oval shape of the finished decrease (see illustration below)
  
• second, grafting prevents you from having to work final decrease rounds on a tiny number of stitches, with needles falling out in all directions and
• third, it makes a really smooth top, avoiding the pointy-looking decreases of other hat tops

This decrease looks very well, and goes very fast--faster and faster on each round as you decrease away more and more stitches.

Part 2: Round-by-round directions for the pocket hat KAL

In the previous post of the pocket hat KAL, we left the pocket hats 4 stripes high, with the fifth color just added by the jogless back join method. In this post, all the decreasing of the entire hat will be done in this final color.

The row instructions are written for the Watch Cap.
For the Stocking Cap, add another round in pattern between rows 2 and 3.
For the Rasta Hat add another round in pattern between rows 2 and 3 and also between rows 5 and 6.

Stitch counts appear for the two different widths of hats (116 sts = regular size, 120 sts = extra large head size)

• Round 1: After performing the jogless back join in the new color yarn, knit around (no purling) ending just before the first two purl stitches to be worked in the new color. Place marker. (116, 120 sts)
• Rounds 2 and 3: *p2, k2* repeat around (for stocking cap and rasta hat, add another round between rounds 2 and 3, per note in PURPLE, above)
• Round 4: *p2tog, k2* repeat around (87, 90 sts remaining) ROUND 4 corresponds to STEP A of the general directions in part 1 of this post, above.
• Rounds 5 and 6: *p1, k2* repeat around (for rasta hat, add another round between rounds 5 and 6, per note in PURPLE, above)
• Round 7: *p1, sl2* repeat around. (Slip stitches purlwise so as not to twist, slip with yarn in back.)
• Round 8: *p1, k2tog, repeat around (58, 60 sts remaining). Things will start to get tight at this round – it’s time to switch to dpns or the magic loop technique if you haven't done so already. ROUNDS 7 and 8 correspond to STEP B of the general directions, above.
• Rounds 9 and 10: *p1, k1* repeat around
• Round 11: Switching to needles 2 sizes smaller, and using a long magic-loop type set-up, or a set of dpns, *k2tog* around, setting up so that you have (15, 15) stitches on your first needle, and (14, 15) on the second (29, 30 stitches remaining). ROUND 11 corresponds to step C of the general directions, above.
• Round 12: Knit plain (no further purling on this hat top).
• Round 13: In order to make the final graft work on this hat it is important to have a multiple of 4 stitches at this point:
• For the 116 st hat: k13, k2tog, k to end of round (28 sts remaining)
• For the 120 st hat: k13, k2tog, k13, k2tog (28 sts remaining). ROUND 13 corresponds to step D of the general directions, above.
• Round 14: k plain
• Round 15: *k2tog* around. (14, 14 sts remaining). ROUND 15 corresponds to step E of the general directions, above.
• Round 16: Kitchener-stitch the top of the hat closed. ROUND 16 corresponds to step F of the general directions, above.

Try the hat on. If you find it is too short or too long, the hat need not be ripped out all the way to the beginning to rebalance the color proportion among the stripes. No. As stated in the first post of this KAL, the ultimate fit of this hat can be somewhat adjusted by working more or fewer rounds only in this last color. So, if you need to fix the fit, rip out to round one of this last color, then re-work, adding or subtracting in the plain rows to make the hat longer or shorter. If you want to know WHY this procedure does not distort the color pattern even though it seems like it would, a (long-ish) art- history type explanation is here.

If you are following along in the KAL, the steps still remaining to a finished hat are

• BLOCKING and
• TWO ALTERNATIVES to conquer ITCHY-FOREHEAD syndrome

--TECHknitter
PS:

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ADDENDUM, 2011:  The KAL laid out above stretches out over 5 posts, of which this is fourth, and it is free.  However, some folks have written to say they find it hard to follow the pattern over so many posts. So...if you like, you can buy the pattern in an easy-to-print, all-in-one place pdf.

* * *

PS: 

THANK YOU (and have some cake!)

4 illustrations, click any illustration to enlarge
Dear Readers:

TECHknitting has recently passed some milestones, so it's time to take a little break from all the TECH-nical stuff to thank you all. The Bloglines readership recently passed the 1000 count, readership on other rss-feed services is booming also, Ravelers voted TECHknitting the "most educational blog," and a round dozen bloggers awarded TECHknitting the "you make my day award." So, THANK YOU ALL VERY MUCH for your votes, your support and all the awards! And ...

HAVE SOME CAKE!


Here's some luscious frosting:

Close up of the inscription:

One more look:

Many thanks again, dear readers.

--TECHknitter (You have been reading TECHknitting on "Have some cake!")

Jogless ribbing STRIPES with a trick to work your ends in as-you-go (also part 3 of "pocket hats")

Among the several methods to work your ends in as you go, this blog has previously introduced the "back join." Among the methods to avoid a "jog" when striping in the round, this blog has previously introduced "jogless stripes, a new method."

The top part of today's post shows a variation on these two tricks--a JOGLESS BACK JOIN as adapted for 2x2 ribbing. In other words, today's post shows a new 2-in-1 adaptation, so that in ribbing you can:

• work your ends in as you go AND
• create jogless stripes
  

Also, today's post can be read as part 3 of a little knit along (KAL) we have going here, for easy-to-make ribbed stripy "pocket hats." The bottom part of this post puts the jogless back join straight to work with further directions for this KAL.

* * *

ADDENDUM, 2011:  The KAL laid out below stretches out over 5 posts, of which this is the third, and is free.  However, some folks have written to say they find it hard to follow the pattern over so many posts. So...if you like, you can buy the pattern in an easy-to-print, all-in-one place pdf.

* * *

Part 1: The JOGLESS BACK JOIN for 2x2 RIBBING
a TUTORIAL in DIAGRAMS

1. (below) The jogless back join is done on seven stitches.

• the tail of the old color is worked into stitches 1(K), 2 and 3 (both purls)
• the actual join occurs in stitches 4 and 5 (both knits) and the
• tail of the new color is worked into stitches 5 (knit) 6 and 7 (purls)

As you can see, the stitches in columns 4 and 5, which will be the "ground zero" of this join, together make up a k2 rib.
2. (below) Step 2 is a MEASURING step. Starting with the leftmost stitch of the last k2 rib in the color change round -- the stitch in column 1 on the diagrams -- work three additional stitches. Mark the spot where the running stitch emerges from the third stitch. In the diagram, that spot has been drawn with a blue dot, but in real life, you could mark the spot with a pin, or by pinching it and not letting to, or with a small dot of tailor's chalk. The point is to measure off the amount of yarn it will take to work 3 stitches, and mark that length.
3. (below) Having marked the correct spot, you will now unravel those three stitches you worked (stitches 1, 2 and 3) and replace them on the left needle. As you can see, stitches should be replaced RIGHT arm forward. At the spot you've marked, interlock the old yarn and the new yarn.

Three little things to note about this step:

• As shown in step 3, interlocking the yarns means that each yarn--the old yellow yarn and the new orange yarn--are now doubled back on themselves. That's why this kind of join is called a "back join."
• As you get better and better at the back join, you may find that you are able to skip step 2 (the measuring step) because you are able to accurately estimate where the interlock should be.
• The diagram below employs artistic license. In real life, the yarn resulting from unraveling the 3 stitches will be much longer, proportionately.

4. (below) Using the doubled-over yellow yarn, you will now re-do stitches 1, 2 and 3, working in pattern. "Working in pattern" means that you should knit st 1, and purl sts 2 and 3, which is the same pattern as the underlying stitches. Because you measured the yellow yarn before you interlocked it and doubled it back, the three re-worked stitches should exactly use up the yellow yarn, and the yellow stitches should end at the interlock. If for some reason the interlock is not where it ought to be, no big deal--just unravel and re-knit these three stitches once again, adjusting the interlock location until it comes out just behind stitch 3, as shown.
5. (below) You are now going to SLIP STITCH 4. As shown in the illustration, when you grab this stitch and slip it up to your right needle, you are going to slip it RIGHT arm forward (untwisted). After slipping stitch 4, you will then knit the first 3 stitches in the new (orange) color. As with the yellow yarn, you will work these stitches with the doubled over yarn (2 strands of yarn) which result from the interlock. By knitting stitches 5, 6 and 7, you are working in the orange tail. One more important thing to note about this step: at this point you are NOT working in pattern. In fact, you will now knit the rest of this first round of the new color (no purling), and this is to avoid "icky dots" in ribbing, as explained in the immediately previous post.
6. (below) After knitting in orange all the way around the round (no purling) you will now knit stitch 4--that being the stitch you slipped in the previous step. After knitting stitch 4, you are going to slip its partner--stitch 5. Be careful here and remember that this stitch you are about to slip--stitch 5--is actually a stitch knit from doubled-back yarn. Therefore, when you come to slip, be careful to grab BOTH loops of this stitch. As you can see, when you grab this doubled stitch and slip it to your right needle, you should slip it RIGHT arm forward, so it lays untwisted.

This is also the time to snip loose the yellow yarn--as the diagram shows, the yellow yarn is no longer attached to the ball, but is now a disconnected tail.

After slipping stitch 5, you return to pattern. In other words, after this step, have completed round 1 of the new color (orange) and you would purl 2, then knit 2, and so on, matching the pattern of the underlying ribbing. If you have been using a stitch marker to mark the beginning of the round, you would now place it just to the left of slipped stitch 5. From here on out, you will work the new color normally, which means that when you come all the way around, you will simply knit off the slipped stitch at the end of the round as if it were any other knit stitch.
7a. (below) This is the finished fabric. Stitches 1, 2 and 3 have the last tail of the yellow worked into them. The next two stitches--4 and 5-- have each been slipped once. The tails of the new (orange) yarn have been worked into stitches 5, 6 and 7. If you look carefully at the diagram, you'll see that the stitches look crooked and uneven, but...
7b. (below) ... diagrams are limited. The join "in the wool" as shown below, shows no jog. As you can also see, the extra loop of stitch 5 does not show. If you find in your own work, that the double loop at stitch 5 does show a little bit, dig around on the back of the fabric with a small knitting needle, and once you locate the "back" of the two loops, tug on it to make it disappear.

8. (below) If you think about what you have done, you've slipped stitches 4 and 5 to be sort of "mezzanine" (halfway) stitches. Because they were slipped, they got pulled down to a sort of halfway position between the end of one round and the beginning of the next, and this is what eliminates the "jog" at the end of the round. However, in eliminating the jog by slipping, we've also eliminated 1 stitch from each of column 4 and 5. We're going to make up those missing stitches (one from each column) by adding them at the top of the column. In other words, each successive color change will travel one k2 rib to the left, and in this way, each column of k2 stitches in each color will have the same number of stitches. Another way of saying this same thing is that stitch 5 of the old color change will be stitch 1 of the new color change. If this remains confusing to you, you might like to review "traveling" jogless joins in stockinette, which are explained here -- the principle is the same whether the stitches travel in stockinette or in ribbing.

Part 2: DIRECTIONS for POCKET HATS

So far, the directions in previous posts (click here) have taken the hat to the top of the first color stripe. You will now change colors as shown in this post, and again knit the number of rounds for the hat you are making (somewhere between 13 rounds for the shortest style--the watch cap, and 16 rounds for the longest style--the rasta hat). Continue using this same color change technique to striping your way up the hat to the top (5th) stripe. When you get there (just past the color change for last color) wait for me--the next post will incorporate 3 more tricks to make a truly flat hat top.

--TECHknitter (You have been reading TECHknitting on: Jogless stripes in ribbing with no ends to weave in)

Color, texture and ribbing without the icky dots--a mystery of knitting, explained

includes 13 illustrations, click any illustration to enlarge
*For those following along with the 8-trick Pocket Hat KAL, there are no pattern instructions in today's post. Rather, this is a general post about how to make ribbing without those icky dots, a trick which will be used on the hats in a future installment.

* * *

READ THIS NOTE BEFORE YOU READ THIS POST!!!

This post explains where the contrasting-color blips ("icky dots") come from when you change color in knitting a textured fabric such as ribbing.  The post also offers a fix  for the problem.  That fix is going to work really well IF you are knitting a non-reversible garment, meaning one which is going to wind up with AN INSIDE and an OUTSIDE.  Examples are circular-knit items like the 8-trick pocket hat of this KAL or a sock, OR an item knit flat and then seamed, such as a pullover sweater knit in pieces and then sewed together.  

This trick will NOT WORK for a reversible item, such as a flat-knit neck scarf.  

This is because the fix moves the contrast color dot to the inside fabric face.  If both fabric faces are the "outside" (reversible item) there is no "inside fabric face," so the fix offered in this post doesn't apply. 

* * *

RIBBING WITH NO ICKY DOTS
the interplay of texture and color

Knitting contains many mysteries. This blog has already tackled one big mystery: why knitting curls (answer here). Today: another great mystery--why knitting in more than one color, such as stripes, makes ICKY DOTS in ribbing.Icky dots aren't confined to ribbing. They actually show up when you change the color in ANY sort of texture work. Today's post is split into two sections. The first section (with gold-dot illustrations) is general background about color and texture. The second part (with rust-colored-dot illustrations) applies this general knowledge to getting rid of dots in ribbing. If theory and reasons don't attract you today, you can skip down to the bottom  of this post for the fix.

Part 1: Background

We know that changing color in all all-knit fabric such as stockinette yields smooth un-dotted stripes. So icky dots which appear at a color change must have something to do with purls. But what aspect of purls creates icky dots? In the finest tradition of scholarship, I'm going to answer that question with a second question.

• How would you make a single line of orange purls running across a brown background of stockinette?

By figuring out the answer to this second question, we'll be on the way to avoiding icky dots.

As you see, this second question really has two parts:

• there is a color change -- orange against a brown background, and
• there is creation of a new texture -- purls against an all-knit (stockinette) background

Looking at color, then texture, and then combining will yield the answer.

A. WHAT HAPPENS WHEN YOU CHANGE COLOR

When you change a color, you are changing the color in the CURRENT row. Seems simple enough, but let's look at this one more time.

To make the current stitch, the tip of the RIGHT (working) needle pulls a loop through the stitch at the tip of the LEFT (holding) needle. This newly-pulled-through loop lays on the tip of the RIGHT needle when it is formed and joins the rest of the current row. All these stitches in this current row LAY IN LOOPS on the right (working) needle.

Illustration 1, below, shows a new row half-knitted: on this stockinette fabric (no texture) the NEW row being created in orange is partially knit, and lays in loops over the right needle. The left half of the OLD row is in brown over the left (holding) needle, while the right half of the OLD row has become the first row of fabric, which lays UNDER the orange loops on the right (working) needle.To sum this up, here's the first chunk of red text: when we change COLOR, we are affecting the stitches in the CURRENT row--the row laying in loops on the right needle.

This doesn't seem particularly mysterious (even if it IS highlighted in in red) so let's pass onto the issue of...

B. WHAT IS TEXTURE?

For the purpose of this post, we'll say that a stitch has three parts. As shown in illustration 2, these parts are one HEAD, and two ARMS, Left and Right.

In the context of knitted fabric, "texture" refers to knitting and purling. Naming the texture of a knitted fabric is just a way of saying whether the HEAD or the ARMS of the stitch are predominant.

Click to enlarge illustration 3 and have a look: in a plain knit-stitch (stockinette) fabric, the ARMS are the main feature, while the HEADS of each stitch hide on the back of the fabric. These predominant arms give stockinette fabric its characteristic little "V's" and its smoothness. (For another view, click here.)

In a purl-stitch (reverse stockinette) fabric, the opposite situation pertains. Click to enlarge illustration 4, and you'll see that the HEADS of the stitches are the main feature, while the ARMS hide on the back of the fabric. A whole fabric of bumpy little heads jutting out give purl (reverse stockinette) fabric its characteristic nubbiness, while individual purl stitches on a knit background stand out as individual bumps on a smooth background. (For another view, click here.)

Now that we've nailed down our terms, let's talk about...

C. WHAT HAPPENS WHEN YOU CREATE TEXTURE

"Creating texture" is what happens when you switch from knitting, for example, to purling. So, in illustration 5, below, the knitter is purling every second stitch on an otherwise all-knit (stockinette fabric) background. In terms of heads and arms, the heads of the purl stitches are being popped out onto the face of the fabric. This creates a texture pattern: a row where individual purl stitches stand out on a stockinette background.There are two important things about this process of pulling a new loop through an old loop.

First: the newly-purled stitches appear in the right portion of the OLD ROW. In other words, the new purls appear ONLY on the right side of the old row BELOW the partially-knitted current row--they have joined the knitted fabric and lie in the right part of the old row BELOW THE RIGHT NEEDLE.

Second, the loops of the current row, as well the unworked stitches on the left side of the old row aren't knits OR purls. They are not yet part of the fabric, and they are blanks. These unworked stitches (loops over the needle) won't join the fabric as knits OR purls until a new loop has been pulled through THEM. Yes, as surprising as this is, when you knit or purl a stitch, you're really knitting and purling the OLD stitch in the row BELOW the stitch you just made.

This is a pretty important point for all of knitting, worth repeating a little bit. If you scroll up and look at illustration 5 again, you will see lots of loops. The left needle is holding the loops waiting to be worked, the right needle is holding the loops of the current row you've just made. But none of these loops are part of the fabric yet. The orientation of these loops won't be determined until new loops are pulled through THEM, pinning them into the fabric either in the knit position (arms forward and heads back) or in the purl position (heads forward and arms back). Loops laying over a needle are not worked into the fabric, and they are neither knit stitches or purl, but are blanks!

We'll sum this up in a second chunk of red text: In creating texture, we affect the stitches in the row BELOW the current row. In other words, we are affecting those stitches in the OLD row where the old row lies BELOW the right needle.

Now that we understand in which row color changes, and in which row texture changes, we are ready to answer the question at the top of this post: how would you purl a line of orange on a maroon background?

As we've said, COLOR changes in the CURRENT ROW, TEXTURE in the part of the OLD row below the right needle. In other words, color and texture change in different rows. Therefore, as shown in illustrations 6 a & b, in order to create a row of orange purls on a brown background, we would have to have a two-stage process:

• First, on the face of the stockinette fabric, we'd have to KNIT a row of orange, which puts color into the current row.
• Then, on the NEXT row of the fabric, we'd have to work these orange stitches as necessary to impart a purl texture to them when they are viewed from the smooth "knit" side--we'd purl them if working in the round, but we'd knit them if working back and forth.

Part 2: Eliminating icky dots in ribbing.

We've established that color changes in the current row, but texture changes in the part of the old row below the right needle. In this second half of the post, we'll apply this new knowledge to eliminating those icky dots in a 2x2 (k2, p2) ribbing.*reminder: The illustrations in this half of the post are numbered with RUST-COLORED dots.

Illustration 1, below, shows a new color (orange) being purled onto the right needle. As we established above, purling with the new color is NOT the way to add a new row of a new color, and this illustration shows why: purling pops the heads of the ROW BELOW to the surface of the fabric. In fact, that's what the icky dots ARE: They are the contrasting color purl heads of the row below, as you can see at the arrows.
Illustration 2 is a closeup: Now it's easy to see that using the new color to purl the purls in ribbing makes the purled head of the old color show as an icky dot.
The next 2 illustrations below, 3a (overview) and 3b (closeup), have the keys to the mystery of creating ribbing without the icky dots. Specifically, if you KNIT with the new color, even in the purl rows, the dots will be eliminated.
See what we did? We SUBSTITUTED texture change for color change! Specifically, the top brown stitches in the purl columns (the two columns on the right side of illustrations 3a and 3b) are now knit stitches, and knit stitches, as we know, don't show any icky dots where they change color. The tricky thing is that, as illustration 3b shows, we return to the purl pattern by purling the purl columns in the SECOND row of orange, and this imparts the purl texture to the FIRST row of orange, as explained in part 1 of this post.

Now, in knitting, as in all other fields of life, there is no free lunch. Knitting across the tops of the purl columns eliminates the color change--the icky dots--but, this comes at the price of interrupting the texture of the purl columns. This price, however, is low. In other words, the trade-off of texture-disruption for dot-elimination is a pretty good one. The icky dots (color change) are easy to see, but the texture change is hard to see: it is hiding in the receding purl columns, as shown by the closeup in illustration 4. Of course, this illustration can't give you a feel of the fabric, and knitting across the purl columns at the color-change row leaves a little bump, but it's not much of a bump, and blocking usually smooths that right out. The only other price is a slight tendency to want to fold along each color change, but on a garment being worn, you will never notice this: only when you go to put it away does it feel slightly floppy.
What a lot of words and pictures!

In sum, the BIG FIX is this:

To eliminate those icky dots in ribbing (and all other textured fabrics)

• KNIT all the stitches of the new color, all the way across the whole fabric, ignoring the texture changes (purls) of that row. So, for ribbing, on the color change row, just knit all the way across--no purling, just knitting.
• On the next row as you work the loops of the new color, RETURN TO YOUR TEXTURE PATTERN. So, for ribbing, once you've completed the color change row and are on the second row of the new color, return to purling in the purl columns and knitting in the knit columns. This imparts the correct texture to the stitches in the first color change row, and hides the knit stitches on the inside of the garment.

Here is one last photo: 2x2 ribbing with the icky dots eliminated. Looks a lot better than the first photo of this post, ay?
--TECHknitter
You have been reading TECHknitting on "eliminating dots in ribbing: purling in color"

Easy-peasy reverse stockinette tubular edging (part 2 of "Pocket Hats")

includes 6 illustrations, click on any illustration to enlarge

* * *

ADDENDUM, 2011:  The KAL laid out below stretches out over 5 posts, of which this is second, and is free.  However, some folks have written to say they find it hard to follow the pattern over so many posts. So...if you like, you can buy the pattern in an easy-to-print, all-in-one place pdf (click here).

* * *

Today's trick is a nice little rim-like edging at the cast-on edge, very easy to do, which will stretch and never bind--very good for the edge of a hat, or the neck of a top-down sweater, or the top of a top-down sock. The top half of this post gives the general instructions for this easy-peasy edging while the bottom half applies this edging to the POCKET HATS introduced in the previous post.

GENERAL INSTRUCTIONS
for
REVERSE STOCKINETTE TUBULAR EDGING

This edging--a reverse stockinette tubular edging--is pretty much the same as the knitted-shut hem, which was posted here. However, there are two important differences.

• First, the knit-shut hem is knit shut in the back, while this edging is knit shut in the front. This means that this edging is FAR easier to do--stockinette wants to roll towards you, and this cast-on goes along with that tendency. You can use this method to start a sweater or a hat at a meeting or on a bus: once you're sure you have the right number of stitches, catching the fabric up into a tubular edging is very methodical and no further counting or fussing is required. (The sample hats for this series were all started during various meetings.)
  
• Second, when caught into a tube, reverse stockinette wants to protrude and stretch outwards, sort of like a rolled edging (scroll link for a gallery of rolled edges). In fact, reverse stockinette tubular edging is the same thing as rolled edging except that the roll-edge knit shut in this edging. By contrast, a knit-shut hem might want to flip up, but it generally does not stretch out like this edging does.
  

Illustration 1 (below) Cast on by the long-tail method, as many stitches as you need (If you are making the pocket hat, the pattern and number of stitches to cast on is the bottom half of this post.) Knit somewhere between 4 and 8 (or even more) rows or rounds of stockinette fabric. If you are knitting flat (back and forth), end by working a purl row, so that when you turn, you will be on the smooth "knit" side of your fabric. With the right needle, follow the column down to the cast-on loop, and inset the right needle into this loop.
Illustration 2 (below)

• Bring the loop you caught on tip of the right needle up to the left needle. (In this illustration, the purl side of the fabric is shown in orange, although in real life, of course, both sides of the fabric would be the same color.)
• Next, insert the right needle into first stitch on the left needle, so that two loops are on the right needle--the cast-on loop from the bottom of the column, and the stitch at the top of the column, which lay on the left needle.
• Using the running yarn (also called the working yarn) knit these two loops together. In the illustration below, the running yarn (working yarn) is shown in green, although in real life, of course, this yarn would be the same color as the fabric.
  

One last note about the knitting together process: It IS possible to knit the loops together from this position as shown in illustration 2, above (and I do). Yet, you may find it easier to put the bottom-of -the-column loop (orange) onto the left needle. However, as Mt.Mom points out in the comments, if you so, then the knitting-together row is going to come out either twisted or arsy-versy. Therefore, IF you do want both stitches on the left needle, re-arrange the left stitch so that it lays LEFT arm forward, then slip the RIGHT loop onto the left needle, and then knit the two loops together THROUGH THE BACK LOOPS from this position. (This variation is not illustrated.)

Illustration 3 (below) Continue in this manner around the round, or across the row until all the loops and stitches are knit together. In other words, continue until all the column-bottoms are knit together with the column-tops. The reverse stockinette side of the fabric (orange in this illustration) shows on the outside of the little tube you have just fabricated. Again, in real life, the orange (reverse stockinette tube-outside) the yellow (stockinette tube-inside) and the green (running/working yarn tube-closure) would all be the same color. The illustration shows them in different colors just to make it easier to follow.
Illustration 4 (below) On the next round or row, begin the garment fabric. In this illustration, the garment fabric is a 2x2 ribbing (k2, p2).
illustration 5 (below) Here is the result "in the wool." This illustration shows an 6-round reverse stockinette tubular edging on a 2x2 ribbing, which is the same fabric and edging illustrated in 1-4.
One last note before we turn to the hat pattern: When used for negative ease garments such as socks, hats and mittens, the reverse-stockinette tubular edging will make these garments flare along their lower edges. As you can see from the opening photograph in this series, the pocket hats which start with this edging lay in a bell-like shape when they are flat. However, as soon as the garment is put on, this edging looks very well. On hats, (illustration 6, below) this edging makes a pleasant little brim.If you want to use this cast-on, but do not want a brim, make the edging on few rows, maybe as few as 2. Alternatively, remember that this cast on is tubular--a tube of 4 or 6 or more rows can serve as a little casing into which you can insert an elastic or a draw-cord.

* * *

As promised, the bottom half of this post is the

HAT PATTERN for the POCKET HATS

1. Using the kind and color of yarn you want for the bottom stripe, and 16" long circular needles (or longer needles in magic loop, or double pointed needles) in a size as discussed in the last post,

• for persons of normal head size--children or adults--cast on 117 stitches by the long tail method
• for persons with freakishly large heads (such as my husband, who has a 23 1/2 inch head circumference) cast on 121.

Remember--this is ribbing and will stretch significantly.

2. Using the TECHjoin method, join the cast on. The TECHjoin method prevents that nasty little "jog" at the beginning of the round. It also consumes one stitch. After joining, you should have 116 stitches for the normal size and 120 stitches for the super-size. Place a marker after the join.

3. Knit 4-8 (or even more) additional rounds. The fewer rounds you knit, the less bell-shaped the hat will be laying flat, the more rounds you knit, the more "brim-like" this edging will be when you wear the hat.

4. According the edging instructions in the first part of this post, use your right needle to catch the cast-on loop for each column, and knit both the loop and the stitch together.

5. Continue in this manner until you have knit together all the way around. When you come to the marker, remove the marker then SLIP the next stitch, then replace the marker. This little maneuver of slipping the stitch will prevent a jog where the knitting-together ends, and it moves the round-beginning one stitch to the left.

6. Establish a k2, p2 pattern of ribbing around the hat. As discussed in the last post, this hat comes in three lengths, watch cap, stocking cap and rasta-style hat.

• for the watch cap, knit 13 rounds of the first color
• for the stocking cap, knit 14 rounds of the first color
• for the rasta hat, knit 16 rounds of the first color

As you knit this stripe, keep the marker in the same location, simply slipping it from left needle to right each time you meet it.

* * *

In the next posts of this series, three tricks will be shown, all of which have to do with the transition between colors at the stripe-edge. Specifically,

• how to join yarn and work the ends in (the back join as adapted for 2x2 ribbing)
• how to avoid the jog at the color change (the jogless join as adapted for 2x2 ribbing)
• how to knit ribbing without any of those nasty little "dots" showing

Until next time...

--TECHknitter
(You have been reading TECHknitting on "Easy-peasy reverse stockinette tubular edging")

Part 1 of the 8-trick pocket hat: putting gauge in its place

Includes 6 illustrations. Click on any illustration to enlarge.

* * *

ADDENDUM, 2011:  The KAL laid out below stretches out over 5 posts, and is free.  However, some folks have written to say they find it hard to follow the pattern over so many posts. So...if you like, you can buy the pattern in an easy-to-print, all-in-one place pdf.

* * *

Several themes have popped up lately at chez TECH.

• The little kids around here keep actually losing their hats, and the big kids keep claiming they're "losing" theirs.
• Various threads on Ravelry show the depths of despair knitters are feeling about getting gauge, and particularly, row gauge.
• I've been saving up a grab-bag of tricks to share-- a truly flat top for a hat, a ribbed fabric without any icky little "dots" showing on the front of the fabric, an easy-peasy way to start a garment with a stretchy edge--a trick so methodical you can start a garment at a meeting.

Knitting away over the past few days, all three themes came together in a series of little hats, quick to make. I call these little numbers "pocket hats" because they are small enough to slip into a pocket as a spare hat, until a good stiff windchill reminds even careless little kids and hair-conscious teenagers that frozen ears=bad,  hat=good.

Pocket hats are easy in the gauge department: they're made in 2x2 ribbing, a fabric very forgiving of stitch gauge. Also, they are made in three different lengths. Even if your row gauge is wildly off, you should nevertheless get a wearable hat somewhere in this range of offerings.

As to the grab-bag of tricks, there are 8 of them, and each post in this series will first lay out one or two of these tricks, and then apply that trick to the hat. The next post after this one will show how to make the easy-peasy cast on: a reverse stockinette tubular cast on, which will immediately be put to use as the hat brim. Following posts will show jogless stripes and working in tails as-you-go as adapted for 2x2 ribbing--and also how to knit a ribbed material without "dots." The later posts will lay out that nice flat hat top I promised, which incorporates three tricks on its own account. The series will end with two tricks to help tame "itchy-wool-against-the forehead" syndrome, for 8 tricks in all--the 8-trick pocket hat.

The series can be read like a little knit-along (KAL). However, even if you have no need for a hat at present, the tricks will be written up in the first portion of each post in this series.

Putting gauge in its place, and making hats that fit

The theory of gauge is simple enough: Suppose you want to achieve a GAUGE of 6 stitches to one inch, and 8 rows to one inch. You gather your yarn, and select the needles which experience has taught you to expect may be the correct size, and you knit a swatch. Next, you measure your gauge, both row and stitch gauge, using a tape measure or a gauge meter specially made for knitting.

If your stitch gauge is off, you switch needles, and try again  For too MANY stitches per inch--7 st/in, instead of the 6 st/in you want, for example, knit another swatch, using LARGER needles.  For too FEW st/in, re-knit using SMALLER needles. 

The same idea goes for row gauge; If you have TOO MANY rows per inch, use a larger needle, if you have TOO FEW rows per inch, use a smaller needle.

All this is clear enough (if dull) but now can come trouble: it often happens that when you finally get the STITCH gauge correct, then the ROW gauge is off. The fact is, fixing this so they are both correct is truly a BIG problem; beyond the scope of this post.

Taming the stitch gauge/row gauge problem

The beat answer is to knit items where ONE of the gauges DOES NOT MATTER. Often, the ROW gauge is immaterial, because the measurements are given in LENGTH (inches or centimeters) rather than being expressed in row count. For example, the instructions will say "knit 48 rows or until piece measures 6 inches." If, for example, the row gauge for the pattern is 8 rows/inch, but you are getting 7.5, simply knit until you get to 6 inches (45 rows, instead of 48). Even if the instructions aren't written using length measurements, you can use math in this way to figure it out.

There are also knitted items where the STITCH gauge does not matter, or at least, does not matter very much-- scarves, afghans, pocketbooks--items which not fitted to the body. However, some garments (including these pocket hats) also aren't crucial as to gauge.

Specifically, with the pocket hats, the ROW GAUGE is not exactingly important for two reasons:

1. The pocket hats have been test-knit in three lengths.

A. (below) A close-fitting watch cap:
B. (below) A medium length stocking cap:
C. (below) A longer rasta-style hat:
Your hat is most likely to end up somewhere in this range, and you can say that you meant to make it in that length all along.

2: the final length on these hats can be adjusted by unraveling and re-knitting the top. These hats are knit in stripes and all the shaping happens very suddenly, all in the top color. Because the top is not actually a "stripe" but is actually a big "spot," it can be made a different number of rows than the preceding stripes, without ruining the look of the hat.

The STITCH gauge is not exactingly important with pocket hats either, because these hats are made in 2x2 ribbing (k2, p2). Ribbing is SO stretchy that specifying a gauge is difficult anyhow. Should the ribbing be stretched when measured? How stretched? Ironed flat? If not stretched, then how "unstretched" should the sample be when measured?

The only real answer is that when a garment is made in ribbing (or any other heavily textured fabric) the pattern should provide a stitch gauge in stockinette. The theory behind a stockinette gauge swatch for a ribbed garment is that if you can match the stitch gauge of the original creator in stockinette, you will match their gauge in ribbing too--not a great assumption, perhaps, but all that we have.

And there is one surprising thing about a stockinette gauge swatch: although the number of stitches per inch varies substantially between stockinette and ribbing, the ROW gauge is accurate and can be read off directly from the stockinette swatch to the ribbed fabric of the hat: on the photo below, each ribbed hat stripe (left) is 16 rows high, each stockinette gauge swatch stripe, 8 rows high, and the stripes line up 2-for-1 perfectly. In other words, the row gauge is identical across the two fabrics, regardless of the variation in the stitch gauge from the textured hat fabric to the smooth stockinette gauge fabric.
So, having stuffed you up with all this conversation about row and stitch gauge, what IS the gauge for the pocket hats? Here is the materials list, and the actual gauge instructions...

MATERIALS and GAUGE for the POCKET HAT PROJECT

These hats are knit in a DK weight of yarn. Each hat has 5 stripes, and each stripe uses about 1/3 ball of a 50 gram ball. In other words, 5 balls will make about three 5-color hats.

The yarn used is Dale of Norway HEILO yarn, in a grab-bag color assortment of colors (truthfully, in left-over scraps.) Heilo is a long-staple yarn, reasonably tightly spun with excellent durability and a wide color range, in a DK weight and excellent for utility knitting: the garments look as good at 5 or 10 years of age as when they came off the needles. Heilo is hand wash, however. If you want to make this same hat in a machine washable wool, consider Dale's FALK yarn: same yarn as Heilo, but  superwash.  Heilo (and Falk) are relatively ITCHY wools, and the last tricks in this series deal with how to tame the itchy-wool-on-forehead syndrome. They are also fairly coarse wools.

For the reasons above, the HAT is knit in 2x2 ribbing (k2, p2) but the GAUGE SWATCH is knit in stockinette. The swatch has 12 stitches/2 inches (same as 6 st/in), and 16 rows/2 inches (same as 8 st/in). In the photo just below,  see for yourself.

Two last notes to swatchers.
1. the hat is knit in the round, so the gauge swatch should be also. Click here for a trick to make that faster and easier.
2. The swatch here, as well as the hats, were dressed before measuring by a light steam blocking. Click here for more info on steam blocking.

Bottom line: make your swatch in stockinette, to match as close as you can: 6 st/in OR 8 rows/in (if you get pretty close to both row AND stitch gauge, bonus points!) Next time we'll cast on with the nifty reverse stockinette easy-peasy rolled cast on.
--TECHknitter (You have been reading TECHknitting on: "making hats fit--putting gauge in its place")