Choosing colors for stranded colorwork knitting is challenge, but not a rocket science. I wrote several tips how to choose colors. The example is my design Wintering cap, which I knitted in different yarns and colors.
You cannot go wrong with a traditional 2-color scheme: red/white, gray/black, gray/white (below) , red/black. The examples of these popular color combos are below, executed in different yarns.
For non-traditional 2-color scheme, choose high contract shades from the same or the opposite color family. For example: hot pink/burgundy:
You can make the color scheme a bit more sophisticated: 3- and 4- colors. Take 2 (or 3) yarns of the same color family and the 4th yarn of opposite color in a darker shade. Make sure that there is still a good contrast between the two darkest yarns. For example: white/baby blue/steel blue + forest green. See two pictures below.
Here is another example of mixing 3 colors of one family (green, gray-greens) and 1 contrasting color (mustard yellow):
Another variation is on the last photo, #4: 2 yarns of one color family (purple and lilac) and 2 colors of opposite color family (dark mustard, light mustard)
True head turner can be a multi-color scheme. The most winning combos are the 2 sets of the opposite color families. This will make an unforgettable item. Again, watch for the contrast of any two colors you use in a row. See #5 on the last picture.
Important tips when selecting colors
• To determine the contract take a picture of yarns side-by-side under day light in black-and-white mode. The difference in tones will translate into nice, crisp contrast. • If you plan color changes for both – background and foreground – the transition will be smooth if you change 1 color at a time, knit at least 2 rows and change another color.
The Finno-Ugric diagonal patterns are beautiful and can be worked into a cap design. This post has a free pattern for the readers of my blog.
The charm of the diagonal patterns
I learned a lot about the diagonal patterns when researching the history of the Komi knitting. Komi is the large territory of the Russian North. The research resulted in several posts about the history of this knitting tradition. The posts have many examples of patterns and items made with these patterns by the Komi women.
The diagonal patterns can be expanded, contracted and interlocked in all directions. They can grow one from another without loosing their shared internal rhythm. Several patterns locked together create a fabric that look breathtakingly complex, but, in reality, it is easy to knit.
The flow of Finno-Ugric patterns reminds me the lines from the poem:
Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time is eternally present All time is unredeemable. What might have been is an abstraction Remaining a perpetual possibility Only in a world of speculation.
T.S. Eliot, from Burnt Norton
Diagonal patterns and sizing
Enough of poetry. Back to knitting. Here is a bit of nasty news: these beautiful interlocking diagonal patterns do not lend themselves easily to sizing. The stitch count in a pattern repeat should be divisible by 6. It means that you must reduce the item size minimum by 6 stitches – 3 in the beginning of the first pattern repeat and 3 at the end of the last pattern repeat. This is a LOT. Plus, there is a need to deal with a jog.
The design of this cap calls for 180 stitches (6 repeats of a 30-stitch pattern). If you need to change the sizing, you can do it in other ways than reducing/increasing stitch count: – use smaller/bigger needle size – mix thicker and thinner yarns – use thicker yarn for an inner layer (You will understand what I mean by ‘inner layer’ a bit later, when we get to Overview) – make full inner layer instead of a partial one. – replace several bottom rows with ribbing In sum, design your own strategy to modify the size without changing the stitch count.
It took me several tries to get this cap right, so the pictures below are from TWO last versions of Finnougoria I cap.
Size: 59-60cm Gage: 2.5cm x 2.5cm = apx 9 stiches x 11 rows
You can choose your method of construction to adjust the size. I would assume here that you follow my way of making the hat.
The hat is knit bottom-up, without ribbing, but with double-layering on the bottom. I used Judy’s Magic cast on to start a double layer. Cast on 180 stitches on each needle. Put a marker every 30 stitches in both layers. Two layers – the inner and the outer – are knit separately in opposite directions from the cast-on rows. While you knit one layer on shorter circular needles, the other layer rests on longer circular needle or moved onto a string of waste yarn. I used #2 USA needles to knit the outer later, and #1 USA for the inner layer.
After the inner layer is about 17 rows and the outer layer is 18 rows, fold the fabric and transfer all the stitches onto one #2 USA needle. The next row: continue, carefully knitting each inner and outer stitch together.
The crown is formed by reducing stitches in the beginning and end of pattern.
Choice of yarns
I like mixing yarns. For this project I used “fluffy” mixed yarn for the white color and smooth yarn for the red.
Version #1 Red: Claudia Hand Painted Yarns, ADDICTIONS, Fingering Weight, 100% fine merino ~35 g White: two yarns mixed Plymouth Baby Alpaca, Lace Weight Kid mohair, Lace Weight ~30g
Plymouth Baby Alpaca, Lace Weight, doubled ~15g
Version #2 (final, as shown on model) Red: Cascade Heritage, Fingering Weight 85% merino 15% mulberry silk, ~25 g White: Rowan Alpaca Classic, DK weight 60% alpaca, 40% cotton ~25g
Plymouth Baby Alpaca, Lace Weight, doubled ~15g
One of the Facebook group members recommended brand Rauma Finull, because the red yarn of this brand does not bleed.
Circular needles: #2 USA 36in. or 48in. (optional) #2 USA 24in. #1 USA 24in.
Double-pointed needles (if you do not know how to use magic loop): #2
Important note: the pattern is free for the hand-knitters, but it is not for commercial use or mass production.
2 diagrams: the bottom and the crown. The diagram shows 30-stitch pattern repeat. As your recall there are 6 repeats, 30 stitches each. The leftmost 31st stitch on the diagram is the last stitch of the last pattern repeat tofix the jog. The rest of the important comments are right on the diagram.
Let me know how your cap turns out. While posting the pictures of this cap in FB groups, I found out something interesting about the items with red-and-white with diagonal patterns from the fellow knitters. It looks like at the turn of the 20th century the sweaters, cardigans and caps in this style were very popular in Finland and the neighboring Russian territory on the shores of the White Sea called Pomorye. Pomorye was a melting pot, because it has the important old Russian sea port of Arkhangelsk. The Pomors – that what the inhabitants of the area were called – were a mix of the Komi, Hanty, Mansy, Finns, Russians and other ethic groups. But this is the story for the later post.
I envisioned the pattern on my Komi vests to start right away at the bottom, without ribbing. Ribbing is a necessary evil of every knit garment: it keeps edges from curling up. The goal was to kiss good-bye to ribbing.
I wanted the pattern start from the very edge of the garment without ribbing, that keeps edge from curling up. Judy’s Magic Cast On which I found in my trusty little book Cast On, Bind Off by Leslie Ann Bestor was just the technique that accommodated my design.
Basic recipe for bottom-up sweater/vest on circular needles
Overview: The idea works for garments knit bottom up. You create a counter-tension of two fabrics knit in opposite directions from the cast-on rows without adding too much bulk. First you knit up and down, fold the fabric, gather the stitches onto another pair of needles and knit together. Continue knitting the garment in a round, as usual. Press the fold when the garment is done.
Needed: 3 circular needles of your project size, 2 longer and 1 can be shorter. Some quantity of thinner (sports or baby weight) yarn in addition to your project yarn.
Cast on necessary number of stitches using 1 shorter and 1 longer set of needles. If your item requires 220 stitches then eachneedle should end up with 220 stitches. The direction of knitting on one needle will go up and on another – down.
Before knitting, look attentively which side the yarn twists are on. The twists should end up on purl side.
Knit “up” several rows in stranded color work. (I knitted 5).
Knit “down” with a thin and dense yarn fewer rows. (I knitted 4.)
Fold fabric and transfer stitches to the third needle: one stitch from one needle, one stitch from another needle.
Continue the pattern on color work side, carefully knitting each stitch together. Inside fabric should remain as invisible as possible.
The finished edge looks a bit puffy. Carefully press the fold when the project is finished. Avoid stretching the edge. Here is what I ended up with:
If Judy’s Magic Cast On worked for socks and a vest edge and socks, it should work for mittens. My next idea was to knit two-sided mittens: one side – of fine angora, another side – of sock yarn. The success did not come cheap. It took 3 tries to get it somewhat right. Two sided mittens is a fancy idea that you do not have to follow, but the idea of using Judy’s Magic Cast On to knit mitten tips produces beautiful round shape.
Meanwhile… Let’s return to my Komi vest: the edge obediently stays down!
I stumbled into little known knitting tradition of the Komi people after making my first tunic from Alice Starmore’s Fishermen’s Sweaters and designing my own vest.The diagonal patterns of the Komi socks and mittens mesmerized me.
In the previous post I featured the vest of my own design inspired by the Komi knitting.
Alice Starmore wrote in the introduction to her pattern that she could not find any fishermen’s sweaters from the Baltic regions except the one Estonian sweater in the Finnish museum. She based the pattern on that sweater executed in a yarn of lovely gray shades. Starmore’s book was published in 1993. This was the decade when very little was known about the knitting traditions of the former USSR.
After I finished the Baltic sweater, I knew that knitting according to someone’s instructions is not my forte. I love to design my own things.
For my next project, I googled Russian redwork embroidery. There were plenty of images on internet. Beautiful and suitable for knitting.
The modified weaving pattern from a towel end was just right for the vest. The vest has a few interesting technical features. I will write about them in detail in another post.
I abandoned the rule of using same type of yarn in stranded color work. A mix of fluffy Katia Alpaca-Silk (doubled) and a gradient set called Katia Ombre (sports weight). It is a pity that Katia Alpaca-Silk is discontinued, but to my knowledge, there is compatible yarn under label Drops.
The combination of thicker, fluffier yarn and thinner, smoother yarn allowed me to use larger needles ( #7 US). The vest turned out to be of right thickness and went reasonably fast.
I noticed something during my searches, which turned a pattern selection into an amateur science project: many diagonal geometric textile patterns posted online were captioned as Perm region of Russia. Perm is a city in the Republic of Komi, a federal territory within Russia. The native population there was not Russian.
A little more research yielded an intriguing story of the ancient textile tradition which is little known to the world: Komi stranded color work knitting and Komi weaving.
What became clear from my amateur research that the attractive diagonal geometric patterns in hand-knitting that we think of as Estonian or Latvian or Russian might have been borrowed from the Komi people, who live to the west of the Urals Mountains. The Estonians, the Finns and the Komis are of the same Finno-Ugric ethnic group and they live on neighboring territories. The Komis adopted the technique of knitting earlier than their cousins. It came from their Asian neighbors.
The search for Komi knitting books brought only one result, but a lot of other fascinating materials. The history of the Komi and their knitting is a testimony how much the fate and heritage of a small ethnic group depends on twists and turns of the history. It is the story well worth telling.
In the next several posts, I will write about the light and dark periods of the Komi knitting.
Just in time for the winter! I made another vest for myself. This time I tried two ideas: smooth transitions of colors and patterns and to do away with traditional steeking and ribbing. Colorwork patterns from the traditional Komi textiles.
I love the diagonal patterns of the Komi textiles. They are easy to combine together: one pattern flows into another creating visually intricate fabric. Also, gradient and contrasting colors add liveliness. My vest looks complicated, but with a few design tricks it is not complicated at all. I jotted down here a few ideas for you, my fellow knitting artists, to use in your projects.
I do not buy “sweater quantities”. The experiments with yarns of different weights and textures procured somewhere as odd lots at bargain prices are far more interesting. It is also a good thing for Mother Earth. For this vest I used light gray Katia merino/silk (doubled), a set of Katia Ombre (blues), sock-weight red wool with a lost label from Savers, leftovers of recycled angora yarn (oranges and yellows) and good old Cascade 220 for the hem borders.
Because I combined thicker and softer yarn with thinner and firmer yarns, I was able to use larger needles (#7). Such combination did not make my vest bulky or shapeless.
if you decide to repeat the experiment with mixing yarns, Katia merino/silk (now discontinued) can be replaced by the yarn produced under the label Drops. Drops offers more interesting range of colors.
As to Katial Ombre, it can be replaced by any other label that produces gradient yarns in Sports or sock weight.
The goal was to design a true single-piece garment without ribbing and withoutsteeking (steeking is not suitable for soft yarns. The delicate yarns do not “stick” well like famouse Shetland wool. The cut edges will droop miserably).
The vest is knit on round needles bottom up. From the arm holes it is continued in flat knitting up to the shoulder seams.
The true design challenge was to get rid of ribbing round arm holes and neckline. Here is my solution: at the tip of the neckline and round the armholes I created 6 stitches out of 3. Those 6 stitches are knit in reversible style: knitting with gray yarn, purling with periwinkle yarn. The reduction of the stitches under the arm and around the neckline was with the 4th stitch from the edge, if you are looking at the right side of the fabric. That stitch was always of the same color: it creates a nice line round the openings. When the vest was complete, I ran a string through the tube formed by reversible knitting to prevent excessive stretching.
Another small, but important technical trick: I inserted a short row near the shoulder seam to accommodate shoulder slope.
Here is how the edges of the vest look from the wrong side:
Pithy “how-to” instructions
I publish here only the technical drawing and the color chart of the vest. Note that I’m of a very generous size, so adjust the stitch and row counts according to your size.
If you decide to use the color chart below, remember the important task of centering the repeats of Bereginya pattern ( a stylized female figure ) along the hem. Bereginya means Mother-Protector in old Slavic languages. Alice Starmore wrote the best instructions on centering and adjusting the border patterns in her books Fair Isle Knitting and Charts for Color Knitting. I recommend highly these two books if you are into stranded-color knitting. By the way: the diagonal patterns of the Komi textiles are great for decreasing or increasing to fit a desirable size.
Thank you for reading. I hope, you got a creative idea or two!