The Twisted Sisters Sock Workbook: Dyeing, Painting, Spinning, Designing, Knitting

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isterhood, sharing, crafting, giving, fjijjf laughing-that's what this book is V—^/ about. It's also about spinning yarn and knitting socks. Not just ,^ any old yarn or any old socks, BSEfefe^ but glorious, zany, wildly colorful ^1^9^^^ yarn for perfect-fitting socks of character and personality. Dipdyeing, pour-dyeing, and hand* painting yarns or wool rovings is J as easy as making homemade 4^ <Ji soup, whether you use commer, s| , v cial dyes or Kool-Aid . If you like % v$C' starting from scratch, spinning & ^ Jji|&V one-of-a-kind yarns is easier jfa than you think. But you don't IttteniflHi

$18.95 U.S. $28.95 Canada

need to dye or spin to make your own well-crafted, perfectly-fitting socks—you can simply knit your own pair of life's true luxuries - ^ . ^ ^ The Twisted Sisters Sock Workbook has it all-techniques, patterns, invaluable tips for creating ^ 0 authentic, perfect, made-to-order footwear. Even socks for new Ji babies or socks with ten toes MÊ&

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* ^ ' d Sisters? A hospice nurse, post-doc scholar, organic farmer, assistant attorney general for the state of Oregon, high school teacher, finance and operations manager, touch therapist, mom, and more.

i s i ^ ynne Vogel is a prolific knitter and spinner and was the Grand Champion in Fiber Arts at the Black Sheep Gathering in 2001. She is a contributor to Threads magazine and has worked as a needlepoint

INTERWEAVE PRESS www. i n te rweave .com

designer, painter, and fiber artist. She Ifves in Sewanee, Tennessee. photo: Peggy Wilsh

The

(d^wisted

Sisters Sock ^brkbook LYNNE V O G E L

Project editor: Rita Buchanan Technical editor: Jean Lampe Illustrations: Gayle Ford Photography: Jim Ann Howard and Lynne Vogel, as noted, Tim Klassen (page 4), Peggy Walsh (back cover) Cover and page design: Bren Frisch Production: Dean Howes Copy editor: Kathryn Banks Proofreader and indexer: Nancy Arndt Text copyright © 2002 Lynne Vogel Illustrations copyright © 2002 Interweave Press, Inc. Photography copyright © 2002 Lynne Vogel and Interweave Press Inc. -P-i-^v

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Interweave Press, Inc. 2 0 1 East Fourth Street

Loveland, Colorado 80537-5655 www.interweave.com Printed in China through Asia Pacific Offset Library of Congress Cataloging-in-Publication Data Vogel, Lynne, 1952The twisted sisters sock workbook : dyeing, painting, spinning, designing, knitting / Lynne Vogel. p. cm. Includes index. ISBN 1-931499-16-0 1. Socks. 2. Knitting-Patterns. 3. Hand spinning. 4. Dyes and dyeingTextile fibers. I. Title. TT825 A/66 2002 746.43'20432-dc21 2002005721 10

9 8 7 6 5 4 3

oinins

COLORS

joining hands

interlacing woven strands, tOneS in loops and bands. Fine techniques from FOREIGN LANDS linking

bring together our

of color.

PAST AND FUTURE now combined in a universal language that will stand the test of time.

It is truly impossible to

microscopically accurate tech editing.

Thanks to all the technically ori­

bring a work togeth­

You are all so wonderful to work with.

ented people who have brought me up

er without the help of

To Kathryn Alexander, many thanks for

to speed in computerland: Walter Castle

many people. The spirit of

the permission to include your work

and Anne Giles for major support and

goodwill has prevailed and each and

on energized singles. Your love of your

instruction; Andrew Moser and Leigh

every person involved deserves the

work is contagious.

Burger for a crash course in Photoshop;

highest blessings of joy that come

Big thanks to my photographer,

Dean at Interweave for his patient

from such cooperation. To all of you

Jim Ann Howard, for the gorgeous

instruction; Latham Davis for teaching

the very finest and most heartfelt

shots. Your sense of humor is bound­

me how to use a slide scanner; and

thanks.

less. Thanks to all whose feet showed

Pradip Malde for letting me sit in on a

in

couple of digital art classes.

First and foremost, I'd like to

socks:

Kami

Bruner,

Claire

thank my editor, Rita Buchanan, for ini­

Reishman, Ann Griffin, Pam VanDyke,

tiating me into "bookdom" in righteous

Emily Wright-Ternpko; and the cover

the manuscript with knowledge, wit,

fashion. I couldn't have done it with­

girls, Julie and Flora Jones, Annie, Meg,

and genuine interest. Also thanks to

out her encouragement, knowledge,

Sarah, and Janet Armour-Jones, and

my neighbors, Mary and Dianne, for

enthusiasm,

wisdom,

Lizzie Clark Duncan (Jones). Big thanks

trying my sock pattern and giving me

patience, humor, and friendship. I can't

to Boo Rather for lending us her high-

their feedback. And to my niece, Holly

write THANKS big enough!

powered camera and for her help with

Jean, who invented her own style of

Thanks to all at Interweave Press,

the cover shot. Thanks also to Annie

casting on within a week of learning

especially to Marilyn and Amy for get­

Armour and Danielle Stevens for self-

how to knit.

ting jazzed about the book in the first

lessly lending me their digital cameras

place, to Betsy and Bren for the fan­

for lengthy periods of time. And spe­

tastic cover idea, to Gayle for her great

cial thanks to Peggy Walsh for captur­

illustrations and to Jean Lampe for her

ing my likeness for the back cover.

teaching,

Thanks to Mary Kaiser for reading

Of course, I can't forget my mas­ sage therapist, Colette. Biggest thanks are in order for all the Twisted Sisters for getting jazzed

2

Preface: W h o are the Twisted Sisters?

4 6 and staying jazzed and for sending me

Chapter One: Color and Dyeing Working in an Intuitive M a n n e r A Personal Approach to Color

8

their hard work for w h o k n o w s how long. The spirit of the book really lives

Preparing Dye S t o c k Solutions

9

Mixing Colors

11

Dyeing a Color W h e e l

12 Developing a Thematic Scheme in all of you! Color Kudos to Sandy who dyed 14 General Guidelines on Dyeing a living room full of fiber for the Sisters to dive into. May there always be color in your hands. Thanks

also

to

Rosemary

Wilkinson for traveling halfway round the world and donating her wonderful wool and yarn for the dyeing chapter.

TABLE

18

Hot Pour Dyeing

20

Cold Pour Dyeing

25

Spot Dyeing

26

Dyeing with Kool-Aid®

O

CONTFIMfs

28 28

unfailing humor endured me through

W h a t Happens to Color W h e n You Spin?

30

Fiber Preparation

35

T h e Spindle and the S o c k

I would never have made it with­ out J a m e s w h o graciously and with

Chapter Two: From Fiber to Yarn

Addict's Survival Kit 37

Designing Two-Ply Yarns

40

Working with Singles

46

Making Navajo Three-Ply Yarns

the birthing of the book by making me go for w o o d s w a l k s with Monk and Bailey, by cooking more than usual, and by refusing to

let me get

too

serious. And I'd also like to thank myself for not self-destructing.

48

Chapter Three: Knitting Socks

50

Basic S o c k Pattern

54

How to Fit Your Feet

56

Sampling, Yarn, and Gauge

58

T h e S o c k as a Tube

61

S o m e O t h e r Ways to Knit a Sock

65

Methods of Casting O n

69

Methods of Binding O f f

73

Ribbing and Cuffs

80

Basic S o c k Toes

80

Fancy Toes

74 Heels, the Turning Point 76 Afterthought Heels

84

Gallery

89

Washing Handknit Socks

90

Suppliers

91

Suggested Reading

WHO ARE T H E

this method of teaching. We respond by

TWISTED SISTERS?

leaps and bounds where before we had stubbornly resisted. Our interest grows and we branch out into other skills, learn­

The Twisted Sisters probably took

color, and all things fiber for years. She

ing them with ease and excitement.

shape in the mind of "Twisted Mother"

has developed a naturally intuitive, non-

Eventually some of us even move on to

Sandy Sitzman well before the group

threatening teaching style that encour­

more scientific and technique-oriented

was ever formed. Now the "Millennium

ages minimum sweat and maximum

methods once we wish to refine or repro­

Queen Enabler of Prospective and

enjoyment.

duce our results. But even from the ear­

Realized Fiber Addicts," Sandy has been

Those of us who respond better to

liest stages, we learn skills that delight us

sharing her love of dyeing, spinning,

simple, learn-by-doing methods delight in

for the sheer enjoyment of doing them.

photo: Jim Ann Howard

^

Front row, left to

right: Alina Egerman, Lynne Vogel, Rachael Hocking, Jan Prewitt. Back row, left to right: Sandy Sitzman, Laurie Weinsoft, Linda Berning, Jane Penny, Lynn Nagasako, Gail Marracci, Stephanie Prewitt.

Sandy's ability to teach this way

We Sisters are busy women and

opened the door to many women who

several of us have very demanding jobs,

wished to enhance their knitting experi­

but we still find time to do what we want.

ence with the color, texture, and life of

It may take a while, but we accomplish

handspun yarns. Her generous nature

wonderful things, and you can, too.

and noncompetitive cooperation.

spirit taught us

Her calm,

Gina Parosa: Antique knitting machine expert, full-time mother of three Jane Penny: Hospice nurse

I want to thank all the Sisters for their

methodical

undying enthusiasm and support. Thanks

approach helped to tame creative drag­

for going out of your way to dye, spin,

ons and provided a focused setting for

and knit the wonderful socks in this book.

expressing wild dreams of color.

It wouldn't be the Twisted Sisters sock

Jan Prewitt: Attorney, Oregon Department of Justice Stephanie Prewitt: High school chemistry teacher

Soon a group took shape, meeting

book without you. Special thanks to

each year at the Black Sheep Gathering

Sandy for being beside me every step of

in Eugene, Oregon, where Sandy had

the way.

Debby Schnabel: Fiber artist and neonatal nurse Sandy Sitzman: Spinning and dyeing instructor, owner of Woolgatherings,

sold her hand-dyed fibers since 1990. Once a day trip for some, it became a weekend-long event. Sandy booked a group of rooms and we would come with our wheels and spin late into the

The Twisted Sisters include: Linda Berning: Owner, NW Wools,

Lynne Vogel: Fiber artist, author, and Portland, Oregon therapeutic bodyworker Alina Egerman: Hospice nurse Laurie Weinsoft: Finance and opera­

night. Ministering angel, Jeanne Roll, would make sure everyone received an annual foot rub while we caught up with friends we sometimes only saw once a

Cindy Granlund: Full-time nursing student

connections deepened and our friend­ ships grew. We learned more skills and

tions manager, Boydstun Metal Works, Inc; spinning instructor and shopkeeper at NW Wools

Rachael Hocking: Organic farmer

year. Events expanded to a bi-yearly beach retreat and a holiday party. Our

home of the Happy Socks Kit

And ministering angel, Jeanne Roll: Gail Marracci: Postdoctoral fellow work­ Therapeutic touch practitioner and ing in multiple sclerosis research retired nurse Lynn Nagasako: Assistant Attorney

enjoyed the ones we knew by heart.

General, Oregon Department of

Now we are the Twisted Sisters.

Justice, specializing in finance

COLOR < " " / Sandy chooses the colors she loves from her well-tended garden and knits several colorways at once using Fair Isle techniques. T h e Merino/Tencel® fiber shimmers like raindrops. C O L O R I S O N E of the most powerful means of nonverbal expression. Single colors move us in such a primal way we may not be able to explain our feelings about them. Combinations of colors express sheer exuberance, comfort, fiery energy, confusion, clarity, all sorts of feel­ ings with a directness that can't be achieved in words. You may not even know quite what it is you want to say, but

somehow, with color one

can

express the inexpressible. Although we may choose a single color as a favorite, it rarely stands alone and by the nature of reality must exist beside other colors. This is why handpainted, multicolored ravings seem so appealing. Whether they are a balanced

photo: Jim Ann Howard

Jane spun very long sections of solid colors from Sandy's Fruit Salad roving and then Navajo-plied the singles to duplicate the primal blaze of the original roving with these beautiful broad bands of pure color. She won the 2 0 0 0 Reserve Grand Champion award in the Fiber Arts Division at the Black Sheep Gathering for this yarn.

blend of harmonious shades or a wild splash of primary colors, they grab the eye immediately. The challenge is to use them in a way that brings out their best qualities, retains their freshness, and cap­ tures the essence that attracted us to them in the first place. Before I ever learned to spin I was fascinated by multicolored yarns. I spent many years finding ways to use them to their best advantage. I loved the way they lent depth and movement to a piece, softened edges, or picked up colors from different sections and tied them togeth­ er harmoniously. But I never just sat down and knitted a whole ball into a sweater because it would come out striped, usually in little random stripes that looked like mistakes rather than serendipity. Once I took up sock knitting, I began using those yarns more and more. Because of the sock's small size, the colors staged out in a pleasing and

photo: Jim Ann Howard

I \ nnc blends colors \ er\ slow K Irom one shade to the next In knitting with an

assortment of yarns that share similar color elements.

ever fascinating way. The photos throughout this book

something different or something spe-

wearable or if they will match anything,

show how I and other knitters work with

cial and for one reason or another,

They should be expressions of your inspi-

multicolored rovings and yarns. As you

you've put it off. Now is the time to pull

ration alone. This doesn't necessarily

flip through, note the effects you really

out all those magical inspirations, dust

mean that they have to be wild. They can

love. Make socks for yourself; make them

them off, and bring them to life. Don't

be as subtle and mysterious as you wish,

as a special gift for someone else.

compromise on your enthusiasm, and

If you work from your inspiration, you

don't worry if the socks will be really

can't help but love the outcome.

Maybe

you've

wanted

to

do

WORKING

IN

AN

INTUITIVE

for immediate gratification with little

of water and hang it to dry under con­

Dyeing fiber and yarn with

sweat and lots of color. No measuring,

trolled conditions. What would I hope to

pour-dye methods is a quick way to get

no anxiety, just pour and see what hap­

gain from all this? Reproducible results.

a handpainted look. Although it is pos­

pens. Once I learned the basics this way,

This would come in very handy if I want­

sible to get good results as a beginner

I began to hone my own technique

ed to work in large volumes and make

in these techniques, there is a lot of

using scientific methods when I chose,

many successive, consistent dyelots and

room for refinement, and a high level of

but I have always come back to working

have perfect fastness to each color. There

control and expertise can be achieved

intuitively, especially when developing

isn't anything wrong with this, but it takes

with practice and experience. Also, dye­

an inspiration.

time and effort that isn't necessary when learning to have fun dyeing a few rov­

ing can be fun. I didn't realize this until

The only real differences between sci­

Twisted Mother Sandy invited me into

entific and intuitive methods of working

her kitchen to learn her pour-dye meth­

are precise measurement and docu­

It is possible to get absolutely beau­

ods. In my mind I felt like I was being

mentation. If I wanted to dye some fiber

tiful results in small quantities simply by

dragged kicking and screaming to per­

by scientific method, I would first weigh

being fairly consistent. When mixing dye

form some horrible tedious task, but I

my fiber accurately and write down the

solutions, I always use the same size jars

emerged calm and confident. Why? She

weight. Then I'd soak the fiber for a pre­

and the same amount of dye powder. I

taught me to dye in an intuitive manner.

scribed amount of time in a certain tem­

learned fairly quickly how wet my fiber

Her method was spontaneous, designed

perature of water. All my dyes would be

should feel and how much to dilute my

mixed according to the accurate weight

dyes to get light colors. I discovered how

of dye per volume of water. I would

to judge the temperature of the dyebath

painstakingly measure all dye before I

by the amount of steam rising above the

applied it, writing down everything as I

surface. I could tell when it was about to

went along. Then I would control my

boil just by listening. I could see the dye­

dyebath or steam bath with a ther­

bath becoming clear and learned when

mometer and a timer. I would let the

to add more dye if needed. Before long,

fiber cool for an exact period of time, and

I even learned how much stock solution

then I'd wash it in a precise temperature

to pour in to make a certain depth of

Photo: Jim Ann Howard

ings for socks.

shade. This freed me to work sponta­ Rachel spun these two beautiful Blue-faced Leicester rovings for the sock

neously. I could have fun and just pour!

shown on p. 5 6 . Sandy dyed the roving

A little of this and a bit of that and voila!

above, Lynne the one below.

A beautiful roving.

Amelia handspindle from Hatchtown

Farm.

* Lynne dyed two totally different colorways, then plied them for this irresistible ball of yarn.

As I began to dye by the intuitive

time and materials. Because socks can be

method, my results were largely irrepro-

completed so quickly, you can work with

ducible. I invariably had to come back and

unusual or seldom-used color combina­

make a little more of a slightly different

tions and not waste months on some­

shade or color. But I discovered wonder­

thing you've been eager to try. When the

ful things purely by accident and never

socks are done, it's on to another won­

got the same effect twice. What's the

derful color combo. After you work out all

advantage? I began to use many more

the elements in miniature, you can care­

colors than I originally intended. Running

fully plan a larger project along similar lines

out of yarn became an opportunity rather

with much more confidence.

nature's beauty. I actually imagine wear­

than a disaster. The more colors I used, the richer my knitting became. My work began to have a life of its own that mim­ icked nature in its infinite variations. Like the intriguing meanderings in naturally dyed Persian rugs, each color became precious because it was unique and I truly treasured my work. I emphasize socks in this

book

because small projects are a perfect focus for designers of all levels. They take less

I t'e for a rich black or dark neutral shade, fust

to the proper ph of

add vinegar

cllfs€/)

Repeat pattern. There is a definite

Occasionally I even card the dyed fiber

yarn. For example, if short, soft wool such

repeat pattern in the Crayons rov­

to blend the colors. Depending on how

as Merino has felted in the least bit, it

ing: yellow, green, yellow, orange, photo: Lynne Vog


Variation of color (hue): Most of the colors are warm tones between orange and violet on

photo: Jim Ann Howard

the color wheel, with a few cool photo: Jim Ann Howard

greens from the opposite side of the wheel. ^

Variation of brightness (satura­ tion): Most of the colors are bril­ liant. Only a few are dull. The Autumn Flowers socks are anoth­

er example of color combinations inspired by nature. A field of wildflowers flanks a nearby lake. All year long I find glorious color combinations here, but my favorite time to view them is autumn. The brightly col­ ored flowers and leaves hold their heads

^

T h e Autumn Flowers socks.

^

Here's a look inside the

Zinnias (right) and Autumn Flowers (left) socks. I used these eight rovings and combined them into various two-ply yarns. T h e let­ ters next to the socks show which roving I combined for each yarn. A. Zinnias roving: red, violet, orange, mint green, lavender B. Vermillion blend roving: orange red (vermillion), cherry red, blood red, darker mint, yellow-green C. Sandy's W i n e Country roving: Bordeaux, eggplant, medium vio­ let, muted teal (just a bit) D. Violet blend roving: violet, deep violet, medium lavender E . Autumn leaves roving: muted pastel shades of pumpkin and coral pink, russet brown, apricot, light olive green, light blue gray F. Mustard blend roving: mustard olive, burnt sienna, soft gold G. Mango blend roving: mango wool blended with mohair dyed lime green, orange, and brown H. Madder blend roving: shades of wool dyed with madder (a plant dye) blended with mohair dyed green, aqua, and hot pink photo: Lynne Vogel

3D

Autumn in the Fields Crimson

sumac branches flaunt

their d r o o p i n g fruits to

Dusty and waiting for rain,

they mimic clusters

in dried b l o o d . T h e i r

a stimulating class on using energized

rich display. I started by dyeing an

singles yarns. With a lot of hard work and

autumn leaves combination in muted

experimentation she has developed cre-

shades of pumpkin, coral pink, russet

ative ways of featuring the bias that

brown, apricot, light olive green, and light

occurs with singles. Her work is aston-

blue gray. It wasn't too surprising to find

ishingly fresh and unique because her

that I already had some other rovings

yarns are fresh. Yes, fresh off the bobbin,

around that coordinated with this one.

with no finishing.

Most colors in this combination are

OF RUBIES

Cjfa/Mie>t\eaves

are heavily spotted with

UMBER

remnants of a rainy summer.

Leaf stems

above the dying grasses in an infinitely

fjf/ouiùl^in currant

jelly,

After taking her class I tried some of

of medium saturation, muted but not

these techniques and found that my

dull. They are mostly of medium to light-

favorite way to use fresh yarn was right

medium value, overall a bit lighter than

off a spindle. The next time I had a full

the ones in the Zinnias socks. As in the

spindle of yarn, instead of plying it as

Zinnias socks, most of the color variation

usual, I cast on some stitches and began

is in hue.

knitting in garter stitch, unrolling the yarn

Although one roving (Sandy's Wine

directly off the spindle as I went along.

Country combination) was used in both

Immediately falling in love with the fab-

socks, it looks different because I plied

ric, I spun some more, knitted some

it with brilliant colors that are the same

more, and my knitted panel grew. I loved

the same leaves' undersides

are

chocolate spotted

s p r i n g green,

light value for the Zinnias socks, and with more muted colors for the Autumn

washed with sheer

Green carpet

UWt/è&mel<m .

beneath lifts each warm tone

Leaves socks.

WORKING WITH SINGLES

I got

inspired to work with singles by studying skyward into clicking, b u z z i n g

with Kathryn Alexander. She is an innovative spinner and knitter who teaches

GRASSHOPPER of

tall^K/J^l/e^s my

shoulders

s o n g and seeds

that b r u s h e s

^

Spin a singles with just enough twist

that it plies b a c k onto itself to make a soft as I pass.

two-ply yarn like this.

COLOR

W o r k i n g w i t h v a r i e g a t e d yarns is very m u c h l i k e p a i n t i n g w i t h y a r n . T h e r e is s o m u c h c o l o r d e t a i l t h a t is a n i n t e g r a l p a r t o f e a c h strand

t h a t e c h o e s t h e m y r i a d c o l o r s in

n a t u r e . J u s t k n i t t i n g w i t h t h e s e y a r n s is a delicious experience. A favorite t e c h n i q u e o f m i n e is to s e g u e from o n e yarn to t h e n e x t b y c h a n g i n g y a r n s at a p o i n t in e a c h w h e r e t h e y a r e v e r y s i m i ­ lar if not e x a c t . F o r i n s t a n c e , as I a m k n i t t i n g a l o n g I m a y c o m e to a p o i n t w h e r e m y t w o ply yarn h a s o n e ply o f p a l e m a u v e a n d o n e o f w h i t e . T h e n I look to s e e i f t h e r e is a n o t h ­ e r ball in m y b a s k e t that h a s a different c o m ­ bination of colors that also contains pale mauve and white and begins with a pale m a u v e / w h i t e ply c o m b i n a t i o n . I f I c h o o s e t h i s b a l l to w o r k w i t h , I tie it on a n d c o n t i n ­ ue knitting. S o m e t i m e s I run out o f yarn, a n d to m a t c h t h e e n d I h a v e to w i n d a bit o f f another ball. T h a t may s e e m wasteful, but every bit o f yarn e n d s u p in t h e p e r f e c t p l a c e at o n e t i m e or a n o t h e r , so I w i n d o f f w h a t I n e e d a n d save t h e r e s t for a n o t h e r day. I u s e t h i s t e c h n i q u e w i t h s i n g l e s as w e l l .

W h e n joining on a new yarn, overlap the ends at a place where the same color combination occurs.

WORK

how portable this process was and kept on going to make a vest. The stitches had a pearly quality that my finished sin­ gles don't have and the fabric has a live­ ly feel, unlike some garter stitch fabric, which can be very stiff. I realized that I had used just the very basics of Kathryn's technique to make a simple piece I never grow tired of wearing. I soon found that energized singles make wonderful sock yarns. Singles yarns resemble the original roving more than any other yarn. This keeps the col­ ors fresh and exciting. The fabric is light, resilient, comfortable to wear, and remarkably durable and beautiful. I love spinning on the drop spindle and imme­ diately knitting the yarn without plying or finishing of any kind.

G u i d e l i n e s o n u s i n g s i n g l e s There are a few rules to follow when using energized singles yarns. The very basics

piv

VARIEGATED

singes with

textured ones spun from ' or angora for

photo: Jim Ann Howard

Jkk Debby spun Blue-faced Leicester roving with more twist than usual and knitted the sin­ gles yarn on large needles to make this enchanting leg warmer. It has a ruffled cast on and tapers gently from the knee to the ankle. T h e fabric is remarkably light, stretchy, and alive.

luxurious

novelty yarns. - - S A N D Y ' S TIP

^

This sock was knitted entirely

from energized singles spun on the drop spindle. Garter stitch mosaic bands alternate with stockinette band; of S- and Z-twist yarns. T h e heel and toe are knitted from two strands at a time, one S and one Z. Notice that the only areas that slant are the stock­ inette bands. T h e rest of the sock is straight-grained.

Lynne Vogei photo: Lynne Vogel

^

This simple sock was spun from a

Blue-faced Leicester roving and knit­ ted fresh from the spindle. It has a picot cast on and a k l , p i rib. Most of the sock is worked in stockinette stitch, but to make the heel straightgrained I worked it plus a few rows before and after it in seed stitch. T h e sock is finished with a round toe. Since a round toe doesn't have to align with the heel, you can start the decreases at any point on the round and the toe will fit perfectly.

T r e a s u r e b a g s m a d e from e n e r g i z e d s i n g l e s a r e e s p e c i a l l y fun b e c a u s e t h e y are s m a l l , fast, p o r t a b l e proj­ e c t s . For this treasure bag, I spun two S-twist energized singles. T h e brilliant b a n d s are from

Sandy's

B l u e - f a c e d L e i c e s t e r C r a y o n s rov­ ing, a n d t h e m o r e a u t u m n a l t o n e s are from s o m e pour-dyed

alpaca

f l e e c e . I s t a r t e d at t h e top w i t h a s t r e t c h y c a s t on ( s e e p. 6 8 ) , t h e n worked several rows o f k l , p i rib­ b i n g . T o m a k e h o l e s for t h e d r a w ­ string, I w o r k e d a s e r i e s o f * k 2 t o g , yo* near the top o f the bag. T h e body o f t h e b a g is s t o c k i n e t t e stitch. At t h e b o t t o m o f t h e bag, I u s e d t h e two yarns a l t e r n a t e l y in F a i r Isle t e c h n i q u e . T o f i n i s h off, I w o r k e d k 2 t o g for o n e r o u n d to d e c r e a s e , w o r k e d eight m o r e rounds, t h e n ran t h e yarn through

the

remaining

s t i t c h e s . F o r t h e drawstring, I m a d e two tightly twisted two-ply yarns, t h e n let t h e m d o u b l e b a c k o n t h e m ­ selves, and threaded t h e m through the holes.

!•

Lynne knitted this colorful bag from energized singles yarns.

are as follows. For more complete

bobbin or spindle too long, the

then knit in stockinette to your

instructions on how to use an energized

yarn relaxes and becomes unpre­

desired length. Finish with a

singles yarn, please refer to Kathryn

dictable to work with.

round toe (see p. 8 0 ) .

Alexander's article in SpinOff

Spring

^

Knit the yarn by unrolling it off the

^

Spinning singles in both direc­

2002, (pp. 5 4 - 6 1 ) .

spindle or bobbin. Don't wind it

tions, S and Z, opens the door to

^

Try to spin a fairly consistent sin­

into a ball or let it come off the

more options. Knit a beautiful

gles yarn with just enough twist

end of the shaft of the spindle.

fabric by knitting two strands of

The yarn will twist back onto itself

energized singles together at the

make a soft two-ply yarn. Too lit­

as you knit. This takes some get­

same time. Knit one S and one Z

tle twist and you won't get the

ting used to, but before long,

to balance out any slant that

desired stitch tilt definition in

handling it will become familiar.

would occur from using either

Secure the yarn ends right away.

one alone. This forms a straight-

show ideal stitch tilt; aim for

Weave them into the fabric or

grained fabric that has subtle

something like that.) With too

crochet a chain with the cast-on

depth and wonderful strength.

much twist, your fabric will be

tail to use for finishing later.

The difference from a plied yarn

Using garter, moss, or seed

is subtle and indescribable. The

Long-staple wools are typically

stitch, ribbing, or any equal com­

two strands seem to repel each

coarser than short-staple wools

bination of knits and purls (such

other, giving a certain life to the

and have enough body to

as k2, p2 ribbing or knit 2 rows,

fabric. This fabric is much more

create extra stitch definition. In

purl 2 rows) produces a straight-

durable than it might seem.

addition to slanting, one side of

grained fabric. All other stitch

each stitch comes forward and

patterns will slant.

round with S and Z yarns alter­

that it plies back onto itself to

your fabric. (The photos here

kinky and uneven. ^

becomes prominent. This creates

^

05

^

^

^>

Knitting stockinette stitch in the

Knitting stockinette stitch in the

nately in any combination makes

a very attractive shibori-like

round creates a wonderful spiral

a zigzag pattern. For instance, knit

effect. Among the long-staple

effect that is continuous because

six rows S and six rows Z. Since

wools, I think Blue-faced

there are no seams or selvedges

you are knitting in the round,

Leicester is the softest and most

to worry with. Just knit, knit, knit.

there is no irregular selvedge to

comfortable to wear.

To make a tube sock, just cast on

worry about. Knit the heel and

Spin only what you can knit with­

the appropriate number of stitch­

possibly the toe of the sock with

in a few days. If it sits on the

es, work a few inches of ribbing,

S and Z combined, as above.

^

^

Alina combines two-ply and Navajo-

ply yarns in her socks, using roving that Sandy dyed in shades of yellow, orange, lime green, and black. Top: This sock uses both multicolor and solid-color twoply yarns. Bottom: T h e yarn in this sock was Navajo-plied from the same roving.

MAKING

NAVAJO

THREE-PLY

Y A R N S Although many spinners, includ­ ing some of the Twisted Sisters, believe that three-ply yarns are the ultimate sock yarns, I usually prefer two-ply and sin­ gles yarns myself. I don't like how plying from three bobbins homogenizes the colors. But sometimes I use the Navajo ply­ ing technique, because it combines the color qualities of a singles yarn with the durability and practicality of a plied one. If you don't know how to Navajo-ply, ask a spinning friend to teach you. It's a won-

^

Alina combined multicolor and solid-

color two-ply yarns with Navajo-ply yarns in this whimsical pair.

derful technique to know, especially if you want a yarn that changes endlessly from one solid color to the next. Navajo plying combines the color qualities of a singles yarn with the durability and prac­ ticality of a plied one. Although it is diffi­ cult to beat a singles yarn for truly crisp and clear colors, a plied yarn is often more practical for socks. Navajo plying, with its series of sequential loops, makes a three-ply yarn directly from one singles and

maintains

the

original

color

sequence of the singles yarn.

^

Debby dyed, spun, and Navajo-plied her two favorite colorways, then knit

these beauties with Fair Isle technique. She achieved a fascinating effect with continously flowing color sequences without constantly having to change her yarns to make those color changes.

S

O

C

K

S

W h y k n i t s o c k s ? In this day and age

occurred to me that I would spin yarn

better. In wearing them though, even

it might seem as though it takes a lot of

for socks that I wouldn't

use for a

with their flaws, I noticed that they had

time and effort to knit a pair of socks.

sweater. Since I thrive on variety, this

a life that was missing from my store-

And while a sweater lasts for years and

seemed very appealing.

bought socks. I liked them so much I

years, socks may not last very long with-

Every now and then Sandy would

out wearing through in places. Why

hand me one of her space-dyed rav-

As I became passionate about sock

spend so much time on something that

ings, an unpopular blend or just a boo-

knitting, I began knitting tubes of color

won't last?

boo and say, "Do you like this?" I would

as sample swatches. The tubes were

invariably say, "Yes, I love it." "Well then,

the same size as regular socks, so I

it's yours," she would reply.

could turn the swatches into socks

Besides, how will they fit? They might be like those awful little socks I had to wear as a kid that bunched into

Gradually I acquired a bunch of

my shoes, were too tight or too loose,

these beauties. Sorting through my

and made my life miserable. Not to

stash, I found a burgundy and forest

mention that I'd have to use those

combination in wool and a maroon, bur-

pointy needles. These are the reasons

gundy, and charcoal combination in a

I used for avoiding sock knitting. I'm sure

rayon/Merino blend. I spun the two rav-

you have a list of your own.

ings and plied the yams together. The

decided to try again.

Q/vÙéÙxÂeâ can be design

opportunities introduce a

. Blunders often

different perspect IVe from

which to develop a

fU(tyU

&£uie. LYNNE'S TIP

But, I really did love the socks my

colors enhanced each other and looked

friends were knitting. They were soft and

much better plied to each other than

colorful, they used very little yarn, and

plied to themselves. As I knitted the

when I liked the sample. I wish I had

they knitted up in no time. I noticed that

socks, I enjoyed the tiny dots of color in

knitted all my sample swatches like this.

Sandy, especially, never wore anything

each stitch, the constant change of

Imagine all the great socks that would

but Birkenstocks. There isn't enough

shade that passed through my fingers.

have come from them.

shoe area on a Birkenstock to wear out

Unwittingly I made mistakes here and

Knitters who have never made a

a sock. And the sock shows. You can

there—cuffs too loose, heel too shallow,

sock before will find fun things to do in

admire your work while wearing it.

foot too wide. After a few wearings, I

this chapter. I'll start with a basic pattern

purposefully felted them. They fit a bit

and will show you how to abbreviate

This caused me to reconsider. It

•

Twisted Sisters make a wonderful variety of socks. Clockwise from center bottom: Lynne's curly mohair sock, Debby's legwarmer, Linda's Merino/TencePsock, Linda's back-and-forth sock, Lynne's Zinnia, Lynne's mosaic, Lynne's back-and-forth, Sandy's loop mohair, Sandy's knock-your-socks-off sock, Lynne's spindle sock.

KNITTING

A B B R E V I A T I O N S

BN

blunt tapestry needle

BO

bind off

CN

circular needle

CO

c a s t on

the pattern for quick reference. Beyond

Medium-sized feet are typically 8 V 2 " to

dec(s)

decrease(s)

that, my purpose is to show you how to

10" (21.5 to 25.5 cm) long.

double-pointed

dp inc

design socks, not just follow patterns.

Y a m : Light worsted-weight wool, approx­

increase(s)

I'll explain how to think of a sock as a

imately 12 to 13 wraps per inch (wpi).

knit

group of design elements, such as heels

About 5 ounces (142 g) or 325 yards

and toes. I'll also show several ways to

(297 m) for one pair of socks.

knit tubes and how to reassemble dif­

G a u g e : 26 sts = 4 " (10 cm) in stock­

ferent elements to form custom sock

inette st. I measure length in inches, not

patterns of your own.

rounds, so I don't figure row gauge. I do

k k tbl

k n i t t h r o u g h b a c k loop

k2tog

knit two stitches together

kwise

knitwise

Ml Nl p

make one stitch first

needle

count rows after I knit the first sock, so I

purl A B A S I C S O C K PATTERN Here's a ver

can duplicate it exactly for the second

purl two s t i t c h e s t o g e t h e r

satile basic pattern. It has a very elastic

one of the pair.

pwise

purlwise

cast on or bind off for a non-binding cuff.

N e e d l e s : Size 3 (3.25 mm) or size

rem

remaining

The leg and foot are mostly stockinette

needed to obtain gauge double-pointed,

repeat

stitch so there is plenty of room for

set of five.

rnd(s)

round(s)

adding stitch patterns or showing off pret­

W o r k i n g s t s : 56.

RS

right side

ty yarns. The hourglass heel and the

E l e m e n t s : This pattern can be worked

slip

wedge toe can be knitted cuff down or

from the cuff down or from the toe up.

spi

stitches per inch

toe up. It is broken down into elements,

ssk

slip, slip, k n i t 2 si sts tog

so that you may substitute other ele­

st(s)

stitch(es)

ments from this book or your

S t st

stockinette stitch

psso

p a s s s l i p p e d s t i t c h ove

p2tog

rep

si

photo: Lynne Vogel

tog

favorites.

together

wpi

wraps p e r i n c h

WS

wrong side

wyb

w i t h yarn in b a c k

wyf

w i t h yarn in front

yo

own

S i z e : Women's medium (about 8V2" [21.5 cm] around foot). Foot length to be determined by the individual knitter.

yarn over r e p e a t starting p o i n t (i.e., r e p e a t from * ) r e p e a t all i n s t r u c t i o n s b e t w e e n asterisks

• This basic sock is knitted with Henry's Attic Kona Superwash Merino yarn dyed with the cold pour spot method.

•

W h e n working an hourglass heel, by

the time you have 9 pairs of stitches on each side, it's time to turn the heel. In knitter's shorthand, this is written "hourglass, 9 decs."

Either

way, it

includes

the

same

elements: Cast on, or bind off: Stretchy cast on for cuff down. If worked toe up, fin­

careful not to twist the row, join the round. Rnd 1: *Ssk, p2tog* around (56 sts), or cast on 56 sts in long tail cast on (p.68).

Dhoto: Lvnne Vogei

the left needle. They will look like a

ish the cuff with an invisible bind off

Cuff: Work k l , p i ribbing until the cuff

tight pair.

(p. 70). Both are very elastic.

measures 1 !6" (3.8 cm) long or desired

Continue in this manner. On each

# Cuff: K l , pi ribbing.

length.

successive row, begin with a yo and purl

Leg: Stockinette, the perfect canvas

L e g : Knit until leg (not including cuff)

or knit up to a tight pair and turn. This

measures 4" (10 cm), or desired length

leaves an increasing number of pairs on

Heel: Hourglass heel; it fits comfort­

to measure 2 " (5 cm) above bottom of

the needles. When you finish the ninth

ably and works the same from either

heel. Knit to the end of N3 and stop. (If I

pair on the right side row, purl back and

direction.

want to change colors for the heel, I do it

prepare to turn the heel.

for colorwork.

Foot: Stockinette.

here. If I want the body of the sock to con­

#> Toe: Wedge toe; it fits snugly and

tinue in the color I have used up to this

Turn t h e h e e l

keeps the sock from twisting on the

point, I don't break the yarn, but drop it

Row 1 (RS): Yo, knit across to the first

foot.

and pick it up when mentioned later.)

pair and knit the first st of the pair, turn. Row 2 (WS): Yo, purl across to the first

Note: In these directions, I refer to nee­

B e g i n t h e heel

dles by number. Needle one (N1 ) is the

Row 1 (RS): Knit all the sts from N4 and

needle I first knit from after joining the

N1 onto one needle and turn-28 sts.

round. The point where N l and N4 join

You are now ready to knit back and

Row 3 (RS): Yo, knit across to the yo

is the center back of the leg and bottom

forth. (At this point I like to put the sts

from the previous row. There will be

of the foot. I leave the cast-on tail to mark

from N2 and N3 onto waste yarn,

2 yo's on the left needle, then a row

this juncture; it signals the beginning of

because if I don't do that, I pull the

of pairs. Slip the 2 yo's and the first

each round.

sts at the corner of the heel every

st of the next pair kwise and return

time I turn the row and it leaves a

them to the left needle. K3tog, turn.

Knitting the s o c k cuff d o w n

large st which looks like a hole when

Row 4 (WS): Yo, purl across to the yo

Top e d g e CO 112 sts with loop cast on.

1 continue knitting the instep.)

Transfer 28 sts to each of four needles. (I

Row2

(WS): Yo pwise, p28.

prefer to cast onto a regular long needle,

Row 3: Yo kwise, knit across to the last

then knit off onto four dp needles.) Being

2 sts and turn, leaving those 2 sts on

pair and purl the first st of the pair, turn.

from the previous row. Slip 2 yo's and the first st of the next pair pwise and replace them onto the left needle. P3tog, turn.

I define working stitches as the num­ ber o f stitches in the main body of the W O R K I N G

S T I T C H ES

J sock. This number gives me a designing landmark. It usually remains

Repeat Rows 3 and 4 until all but one pair on each side have been knitted.

length to allow for the sideways stretch.)

constant from the cuff to the toe, this

Toe (If I am going to change colors for

n u m b e r tells m e how many stitches I

the toe, I often knit 2 rounds with the R e t u r n to w o r k i n g a r o u n d Replace

new color before beginning to decrease,

the sts that have been held on waste

so that the decreases will appear in the

yarn to their respective needles. There

new color instead of the instep color.)

should be 14 sts on each. (If I changed

Rnd 7; On N l and N3, knit across to the

colors for the heel, I drop the heel color

last 3 sts, k2tog, k l . On N2 and N4,

now and pick up the main color again.)

k l , ssk, knit across.

should have on the needles when work­ ing the leg instep. Knowing the num­ ber o f working stitches also helps me to see h e e l s , toes, and cuffs as inter­

Rnd 7 (RS): Yo, knit to center back.

Rnd 2: Knit around.

changeable design elements and to fig­ ure out Fair Isle or mosaic color pat­ terns. It also helps m e know whether I've dropped or added a stitch. For more

Rnd 2: On N1, knit across to the last 2

Repeat these two rnds until there are

sts. They should be 2 yo's from the

4 sts on each needle (16 sts). Place sts

on working stitches, gauge, and related

preceding row. SI them kwise, then si

from N3 onto N2, and sts from N1 onto

topics, see p. 5 9 .

the first st from N2 kwise and return

N4, so that there are 8 sts on one needle

all 3 sts onto N2. On N2, k3tog, then

for the top of the toe and 8 sts on anoth­

knit across. On N3, knit across to the

er needle for the bottom of the toe. Join

last st. SI that st and the first 2 sts on

the remaining sts with Kitchener stitch.

N4 (which should be yo's), return

Rnd 2: Knit around. Repeat these two rnds until there are 14 sts on each needle. (If I want to

them to N4, and k3tog with N3.

K n i t t i n g the s o c k toe u p

change color, I knit one more rnd before

Otherwise there will be 13 sts remain­

Toe C O 16 sts, using a provisional cast

switching to the instep color.)

ing on N3 and 15 on N4. You'll see

on. (After finishing the sock, you will join

I n s t e p Knit foot to 2" (5 cm) less than

when you knit it. On N4, knit across.

the toe sts with Kitchener stitch.) Divide

the desired length from tip of toe to back

There should now be 14 sts on each

sts onto four needles, being careful not

of heel. Knit to the end of N3 and stop.

needle. Double-check this and adjust

to twist the row, and join. Knit two rnds,

(If I want to work the heel in a different

if necessary.

then work inc as follows.

color, I begin with that here. I do not

I n s t e p Knit every rnd until foot meas­

Rnd 7; On N1 and N3, knit across to the

break the main color yarn, but simply

ures 2 " (5 cm) less than desired overall

last 2 sts on the needle, increase 1 st

drop it and pick it up later.)

length from back of heel to tip of toe. (I

by knitting into the st below the next

H e e l Work an hourglass heel, the same

like to try my socks on as I knit because

st, k2. On N2 and N4, k2, inc 1 st by

as for cuff down sock.

if they are a little snug, they will need to

knitting into the st below the st just

L e g Knit until leg measures 4" (10 cm)

be a bit longer than my actual instep

knitted, knit across.

or desired length.

C u f f Work k l , p i

ribbing for

W

don't see that matters. Good finishing

(3.8 cm).

not only makes a garment neater and

Top e d g e Finish with invisible bind off

stronger, but more comfortable as well.

(p. 70).

This is especially true of socks.

F i n i s h i n g Finishing techniques are like

When you want maximum comfort

the foundation of a house. It's what you

for sensitive feet, try to knit the entire

photo: Lynne Vogel

A Follow the steps in the drawing below to make this gap invisible.

sock in a continuous yarn, rather than breaking off or tying on new yarns. #> I keep a file card or small note­

Variegated yarns put a lot of color into a

book with my knitting so I can

sock without the necessary yam changes

write down important numbers

that other colorwork requires.

such as the number of rounds

Tie on new yams at a place where the

between the ribbing and the heel.

knot or join won't be so readily felt. I like

This makes it a lot easier to make a mate. When knitting the mate, I mark every ten rounds in the leg

to change colors at the center back on the leg, but I avoid color changes in any high-wear areas. Work ends in loosely, mimicking the

and instep with a small piece of stitch size and stretch of the surround­ waste yarn so I don't have to count the

rounds

repeatedly.

TIPS

#> When working with four double-

ing sock fabric. If the ends are drawn too

A Thread the yarn end through the first loop on the right side of the gap. T h e n close the gap by inserting the needle into the loop on the left side and pulling the yarn tight. T h e n go back through the loop on the right and work the yarn tail into the wrong side of the sock.

tight, that area will not stretch like the rest of the sock. When working gusset heels, I like to secure any ends

pointed needles, I find it is easier to work from a needle if both ends of that needle are resting on top of the needles to either side. # Having a hard time undoing a knot? Insert the tip of a knitting needle or a blunt darning needle into the center of the knot and wig­ gle. The knot will soon open. #>

A Finish yarn ends by working them loosely into the wrong side of the fabric.

A T h e miraculously closed gap is now neat and secure.

up the inside of the selvedge of the placket, because I feel them less there than if ends are tucked along the bottom

, and toe, plus the cast on and bind off. T h e r e are many ways to knit e a c h o f t h e s e parts and you c a n easily i n t e r c h a n g e t h e s e e l e m e n t s to c r e a t e

or top of the heel. This may seem finicky y o u r p e r s o n a l favorite p a t t e r n . Also, if you to some, and

may

FOR

BASIC

SOCKS

r e m e m b e r how to work the elements you have

be unnecessary for many, but for those who like their socks to give evenly, end placement is some­ thing to think about. To finish the top of a cuff, I thread the

c h o s e n , all you n e e d is this "shorthand" version o f the pattern to remind you what you've done w h e n it's t i m e to work the m a t e or another pair. For example, here's a sample o f a shorthand pattern of the basic sock pattern. Y a r n : 12 wpi

cast-on tail through a blunt needle and

G a u g e : 6/2 spi

use it to connect the cast-on row with a

N e e d l e size: 3

join that's almost invisible. Then I work

D i r e c t i o n : C u f f down

the rest of the tail down the inside of the

C a s t on:

closest rib.

W o r k i n g sts: 56

K on double, 1 1 2 sts, *ssk, p2tog* first rnd.

C u f f : K l , p l rib, 14 rnds H O W TO F I T Y O U R F E E T Proper fit is one of the reasons for making a custom pattern. Consider this when measuring

Leg:

S t st 4 5 rnds

H e e l : Hourglass, 9 d e c F o o t : S t st 5 2 rnds

your foot. Do you like a sock to be snug T o e : W e d g e to 16 so that it doesn't move around on your B i n d off: K i t c h e n e r foot, or does it feel better when there is Here's my translation o f what t h e s e abbreviations m e a n . Working from the enough play so you can wiggle your toes? I find that there is a difference between a snug sock and a tight sock. A

cuff down, I used a stretchy cast on, casting on 1 1 2 stitches, then reduced by half to the working n u m b e r o f 5 6 stitches. I knit 14 rounds in k l , p i rib, then

snug sock has a small amount of air

changed to stockinette stitch and knit 4 5 rounds before beginning the heel. In

space which makes it warmer. A tight

working my hourglass h e e l , I short-rowed 9 times, leaving 9 pairs o f decreas­

sock feels too constricted and also releas­

es before I turned the h e e l . T h e n I knit 5 2 rounds o f stockinette stitch in the

es body heat too fast. Socks that are too

foot before I started a wedge toe. I worked the d e c r e a s e s in the wedge until I

tight also tend to wear more quickly. Of

ad 1 6 s t i t c h e s r e m a i n i n g in t h e r o u n d , t h e n grafted t h e m t o g e t h e r with

course loose socks can really get in the

K i t c h e n e r stitch.

#

way. You may want to take into consid­ eration the type of footwear you will be wearing with the sock before you deter­ mine the sizing. It's also helpful to meas­ ure the circumference of a favorite com­ mercial sock in its "resting" state off the foot and analyze the pattern. Choose a favorite pair that fits the way you like socks to fit.

photo: Lynne Voge!

photo: Lynne Vogel

The photos below show how to take four basic measurements. These are all

A

Do I have to wear these? They're

A

That's better!

way too big!

you really need to knit a nice sock.

MEASURING

FOR SOCKS

To measure your foot length,

Using a tape measure, find the

M e a s u r e the d i s t a n c e from

F l e x your foot and p l a c e a

stand on a ruler with your

c i r c u m f e r e n c e at the widest

the bottom o f the heel to the

ruler at the bend above your

heel and the end of the ruler

part o f the ball of your foot.

top o f t h e d e s i r e d cuff. D o

i n s t e p . T h i s is the i n s t e p

against a flat wall or door.

T h i s is the most important

this by standing and placing

l i n e . Hold the ruler at that

Make sure the small numbers

measurement you can make,

a ruler next to your foot. It is

line and point your foot to

are next to the wall. ( U s e a

b e c a u s e the sock should fit

nice to have someone else do

take the m e a s u r e m e n t from

ruler that begins at zero.

best at the ball. T h i s m e a s ­

this for you for a really accu­

your instep line to the tip of

Some rulers have an extra bit

urement

rate

This

your longest toe, then add A

determines

the

measurement.

l

before the zero point.) Put

n u m b e r of stitches in your

measurement combines heel,

inch ( 6 m m ) . Use this meas­

your full weight on the ruler

sock. Usually the s o c k will

leg, and cuff elements.

urement for placing an after­

and measure in a straight line

stretch enough to a c c o m m o ­

to the tip of your longest toe.

date the rest of the foot.

thought heel.

S A M P L I N G , Y A R N , A N D G A U G E It is

have to take all this into account when

choose a ballpark figure for getting start­

important to establish a desirable weight

making two important decisions about

ed with a project, but sampling is indis­

and density of fabric, but everyone's knit­

socks—what size needles to use, and

pensable if you want to fine-tune your

ting is unique, and if you're working with

how many working stitches to use. There

knitting.

handspun, every yarn is unique too. You

are some shortcuts you can use to

Suitable sock fabric is usually a bit denser than fabric for other wearables

photo: Lynne Vog(

such as hats and sweaters. When I first started knitting socks, I was uncomfort­ able with knitting a dense fabric and it took me a few pairs before I could grad­ uate to smaller needles. I still love and wear those early socks that were knitted in my comfort zone. Twisted Sisters will all agree that it is better to enjoy knitting than it is to worry whether it is perfect. Now I try to knit a sock fabric that is dense enough to be durable, but not so dense that it is difficult to knit nor so stiff that it is uncomfortable to wear.

M a k e a s w a t c h t u b e Because I seem to knit a bit tighter in the round, I end up with a slightly different gauge than when working back and forth with the same yarn and needles. For this reason I knit my sample swatches in the round. ^ Rachael knitted these socks with the same pattern and same needles. Different yarns make different socks. That's why you need to sample. T h e sock on the left is from roving shown on p. 6. T h e sock on the right is knit from stretchy commercial sock yarn.

^

A sample swatch tube.

Wonderful creative ideas and unexpect­

ruler and count the number of wraps that

ed color combinations emerge from this

will fit into 1 " (2.5 cm). There is more

method.

than one way to do this, and how you

Sampling gives me a chance to find

determine wraps per inch may be influ­

the proper gauge and weight of fabric for

enced by how you plan to use the yarn.

my yarn. This is indispensable with hand-

Since I am measuring yarn for knitting, I

spun because my own yarns don't come

want to acknowledge the loft of the yarn,

I used to avoid doing this because I

with suggested needle size and gauge

since no matter how tightly a yarn is knit­

would cast on and start fresh every time

suggestions. Starting with a tube and

ted, it will fluff up to some degree once

I worked a new yarn. Now I keep a run­

then turning the sample swatch into a

it is off the needles.

ning swatch tube going all the time.

sock gives me the opportunity to try

To measure wraps per inch and still

Since I leave the needles in it, I can pick

many yarns and stitches and be able to

maintain loft, I like to roll my yarn onto

it up, tie on a new yarn, and just knit,

wear the fruits of the sampling. Just think

a dowel or other handy cylindrical object,

changing needle size whenever I want.

of all the great socks you would have if

photo: Lynne Vogel

I usually work in stockinette stitch,

you worked all your samples as tubes!

photo: Lynne Vogel

using the same number of working stitches as my typical socks. This way I

Counting w r a p s per inch Yarns come

can see my color developing in the end­

in many weights or thicknesses. Choosing

less spiral that will appear in the finished

the proper needle size can be a chal­

piece. If I change needle sizes, I often

lenge, especially with handspun yarn.

increase or decrease the stitch number

Since there is a relationship between yarn

so the tube stays about the same cir­

thickness, needle size, and gauge, one

cumference or sock size.

shortcut is to measure the yarn and then

The advantage of making a tube comes when I really love what I see in

refer to the gauge chart (p. 58) to select suitable needles.

the swatch. I just drop the knitting that

One method of measuring yarn

has come before it (p. 61) and proceed,

thickness is to wrap the yam around a

making a sock with the bit I like. By the same token, if I start a sock and don't like it, I turn it into a sample swatch and keep adding different yarns to it as I knit.

•

To count wraps per inch, slowly turn the dowel and roll on the yarn without applying tension.

i

GAUGE CHART Y a r n size,

G a u g e Sts p e r inch,

in w r a p s p e r in

stockinette

inch and c m

22

10

18

8%

14

TA

HHHHHHHH 10

6'/

Recommended

N e e d l e size y o u

n e e die size

u s e to o b t a i n

US

Metric

0

2 mm

2

2 . 2 5 mm

H 2

mi

gauge

2.75 mm 3.25 mm

Figuring how many working stitches to use TTie chart on page 59 will help you decide how many working stitches you need to make socks of different sizes and when working at different gauges. The

6

4

3.5 m m

9

5/2

5

3.75 mm

8

5

6

4.25 mm

numbers on the left side are circumfer­ ences for feet from a baby's 4-inch (10 cm) foot to a large adult's 10 V -inch 2

(26.5 cm) foot. The numbers across the A

Figuring how many working stitches to use

top are for gauge, in stitches per inch/cm over stockinette stitch.

such as a knitting needle. After winding

U s i n g a g a u g e c h a r t Most knitters

off a good length of yarn as I would for

can knit a particular weight of yarn to a

Determine your gauge and read down

knitting, I hold the dowel in one hand

certain number of stitches per inch or

that column to the desired circumference

and wrap the yarn around a few times

cm, the variable factor being the size of

to find the number of working stitches you

to anchor it, then start rolling the yarn

needles used to obtain that gauge. The

need.

loosely onto the dowel. I spin the dowel

chart above suggests a gauge in stitch­

All numbers have been rounded to

in my dominant hand while guiding the

es per inch ( c m ) for a range of yarn

the nearest even number in a regular

yarn on smoothly with my nondominant

weights that are suitable for socks. If

sequence, meaning that they are all mul­

hand. Once I have wound on a few inch­

your knitting is not unusually tight or

tiples of two. If you need a multiple of four

es of yarn, I'll grab the yarn on the dowel

loose, the chart will give you an idea of

and you don't find it on the chart, add or

and turn the dowel one or two turns the

what needle size to use to obtain the

subtract two to get the next multiple of

opposite way that I wound it. This

stated gauge for each yarn.

four. Two stitches one way or the other

loosens the yarn, allowing it to fluff up

If your needles tend to slip out of

should not make a critical difference to a

on the dowel reaching its maximum

your stitches, use smaller needles. If

stretchy sock. If knitting an inelastic stitch,

potential loft. I make sure that the wraps

your stitches are so tight that it is diffi­

such as Fair Isle or mosaic, always round

are sitting right next to each other with­

cult to slide them along the needle, use

up to the higher number.

out spaces, but I don't scrunch the wraps

a size larger than recommended.

any closer than they would sit naturally

After you determine what needle

T H E S O C K A S A T U B E A sock is a

beside one another. I measure the num­

size you need to obtain a certain gauge,

tube with embellishments. The simplest

ber over several inches to check for

write it into the chart for quick future

stocking is a leg warmer—a tube with

inconsistencies in the yarn.

reference.

ribbing at both ends and maybe a taper

W O R K I N G STITCHES

Stitches p e r inch

Circumference inches ( c m )

4.5

5

5.5

6

6.5

7

7.5

8

8.5

9

9.5

10

10.5

10.5

(26.5)

48

52

58

64

68

72

76

84

88

94

100

106

110

10

(25.5)

44

50

56

60

64

70

74

80

84

90

94

100

104

9.5

(24)

42

48

52

58

62

66

72

76

80

84

90

94

100

9

(23)

40

44

48

54

58

62

68

72

76

82

86

90

94

8.5

(21.5)

38

42

46

50

56

60

64

68

72

76

81

86

90

8

(20.5)

36

40

44

48

53

56

60

64

68

72

76

80

84

7.5

(19)

34

38

42

46

48

52

56

60

64

68

70

74

78

7

(18)

32

36

38

42

46

48

52

56

58

62

66

68

72

6.5

(16.5)

30

32

34

38

42

44

48

52

56

58

62

64

68

6

(15)

26

30

32

36

38

42

44

48

50

54

56

60

62

5.5

(14)

24

28

30

32

34

38

42

44

46

48

52

54

58

5

(12.5)

22

26

28

30

32

34

38

40

42

44

48

50

52

4.5

(11.5)

20

22

24

28

30

32

34

36

38

40

42

44

48

4

(10)

18

20

22

24

26

28

30

32

34

36

38

40

42

A

Circumference at ball of foot is measured in inc hes and centimeters. Stitches per inch is the gau£*e for stockinette stitch.

along the way. Then comes the tube

sock as a tube and the heels, toes, and

elastic three-dimensional mesh. But one

sock—a tube with one open end and

cuffs as additions, I can juggle the dif­

row linked to nothing looks like this:

one

closed end. The addition of a

ferent parts of the whole and remove or

turned heel enhances the fit and com­

reassemble them in any order, and I am

fort and turns the tube into the modern

not stuck working from one end to the

sock with which we are all familiar.

other. I can start anywhere and go in any

When I consider the body of the

direction. This frees me to use my ideas photo: Lynne Vogel

and materials any way I choose. If you turn this upside down, it looks the

MATCH

Socks don't have to

exactly. A s l o n g as they

CO

r(/( J