These days I have the Woodland cardi on my mind all the time. The yarn lies on the table, talking to me about colours and contrasts. I’ve been surfing the net and learning about Fair Isle and steeks. I’ve collected pictures of styles and charts I like. By now I have an idea of where I want this to go and in this post I’ll show you, using this structure:
- the yarn: yardage and contrasts
- stranded knitting: design restraints and consequences
- fair isle: what I don’t like, what I do like
- sweater design: dated looks, timeless patterns
- killing my darlings…
- Woodland sweater
This is my yarn:
All Shetland type yarn, 100% wool. 2 ply, to be knit on needles 3 or 3,5 mm (fingering weight). The big skeins are from a small spinning factory in Estonia. They’ve been in business for nearly a 100 years. They used to spin the yarn known as Evilla. That name has been sold and they now spin the same quality yarn under a different name: Wool&Yarn.
The pictures of the old mill are broken on their site, perhaps they will be repaired one day so I’m keeping them here. Here’s what google streetview of the plant looks like:
It’s lovely to support a small business connected to the long and rich knitting traditions of that region.
… while finding their website for you I may have ordered yarn with them for three more cardigans…
… because, you see, shipping costs get lower when you order more than 8 skeins…
… and I really crave green…
In my opinion there are two kinds of stranded sweaters: one with a yoke and one that’s stranded throughout. I’d like the whole cardigan to be stranded, not just the yoke. For warmth.
The circle yoke sweater Helsinki and stranded all over cardigan Norwegian Rose, both by FeralKnitter who really knows how to play with colours and yarn. She sells kits, patterns and workshops in the Fair Isle technique.
I looked at a lot of projects from people on Ravelry -isn’t that a lovely way to spend an afternoon? Looking at projects, getting inspired, picking up technical tips!- to find out about meterage (yardage). I looked at long sleeved projects worked on needles 2,75mm-3,25mm (light fingering and fingering yarn weight) which is what my project will be like.
It seems that a sweater with a coloured yoke needs about 1100-1300 m of the main colour and about 300 m of the contrasting colour.
For a full stranded sweater the numbers seem to be: 800-1000 for the main colour with 600-800 of the contrast colour. It does depend a bit on which colour you use for the borders and cuffs.
My main colour is the darkish warm brown, I have about 945 m of it. This is not enough meters to ensure a relaxing knit without fear of running out…
For contrast I have 764 m of the white and lots of skeins in accompagnying browns and orange.
I’ll need to be smart. Halfway I could change the main colour: below the waist white will become the main colour.
So the red brown and the white are the stars of the show. They have plenty of contrast! But not so much as hard black has with hard white. This is good because my face doesn’t have that stark contrast either, I’m more an antracite+pearl kinda gal. So these colours will work for me, even if the brown has a warm tone and I am cool.
Other colour combinations that give good contrast are the white with anything; the orange handspun with anything and the darkest handspun with the white or orange. I have arranged the skeins so at the bottom are the high contrast colours -good for clear patterning (think contour and lines)- and at the top are the more harmonious colours -good for enhancing an already established pattern (think shading)-.
STRANDED KNITTING: DESIGN CONSTRAINTS
- each row has to have two colours at most. (otherwise: yarn spaghetti + not enough index fingers to keep them apart)(I know knitters can knit with up to 10 colours in one row. But I donwanna)
- one colour needs to be knit no more than 4 or 5 stitches at a time. (otherwise the other colour forms a long strand at the back of the work and you easily snag on it when you put on the garment. Also: tension troubles.)
Fair Isle is the traditional knitwear from the Fair Isles off the coast of Scotland. It consists of stranded colourwork where in each row two colours are alternated every few stitches. Between rows the colours you use can change but not ín the row you are working on.
This is the typical traditional Fair Isle look:
Modern interpretations play with colour and motives. Still clearly with the stacking of horizontal bands and the use of just two colours in any given row.
Yfsnow’s Ivy League Vest by Eunny Jang and PoofyBirdy’s wonderful vegetable interpretation of the same design.
The geometric repetition in horizontal bands is part of the tradition. I’ll probably wander away from this a bit as I’m not a fan of repeating geometrical designs, especially organized in horizontal stripes. Therefor I technically shouldn’t call it Fair Isle anymore. “Stranded knitting” would be better.
You can do a stranded pattern without obvious horizontal bands. Usually a Fair Isle pattern chooses one pattern and keeps repeating it all around the sweater for a few rows. But you don’t have to. You can change the pattern depending on where you are in the sweater:
Or you can use a large overall pattern:
Rauma baby 054-5 by Rauma Designs
(this would look unflattering on a grown woman who has curves and who moves during the day, I feel)
Or you can use small shapes and scatter them around freestyle:
I like this, this is a fun way of knitting!
(But this will mix the colours visually, dampening them both. Imagine a sweater full of these crawlies…it would be both tiresome and colourwise boring to look at.)
Another idea is to use some overall pattern and put different content in each slot:
pattern Squirrel Sweater for Baby (model 11) by Tone Takle and Lise Kolstad. This red knitting and the photo are by PhairIsle
(A whole sweater full of this would look childish on me but as an idea it works)
I like this design for overall structure:
Kyllene by Kirsten M. Jensen
It has some of that timeless style feel to it. I could easily fill some of the slots with a stylized squirrel instead of a stylized tree.
But a body full of diamond shapes?…. I’m not convinced but will keep it in mind.
This is going to be a Woodland sweater. I want squirrels! And owls. Hedgehogs. Oak leaves.
But I don’t want a childish cardigan. It has to be mature, adult and stylish. No Bill Cosby sweater for me please. Or a notorious x-mas sweaters:
Go look at that Bill Cosby link, it’s a fun site, with all his sweaters identified!!
I want a timeless design. So I thought I’d look at the Art Deco era for inspiration, to find that overall structure. It provides stylistic interpretations of the highly recognizable (and thus dated) patterns of the Jugendstil/ Art Nouveau era.
When you google images for “art deco patterns” lots of horizontal organizes pattern pop up. Be it wall paper, decals or fabric. Waves, fans, circles, swirls. Enough to plop in a stylized squirrel or two.
But I don’t want a stamp repeated all over the body of this cardigan. I think it doesn’t look good.What I want is an overall pattern with some variation in it, without repetition.
I have found two nice examples of what I mean:
The other one I found is this one:
This is a bronze tile by Arizona Hot Dots
Both have a vertical alinement. With horizontal accents, placed randomly. These accents could be substituted for woodland creatures.
Looking now at the Fair Isle technique again I’m certain I don’t want the small, fiddly repetition designs. I prefer a novel interpretation of the colour shapes you can make with this technique. I love bolder shapes but the no-more-than-5-stitches-in-1-colour demands some serious designing inventiveness to make that happen. That small cats pattern is one example of italbeit a bit too fiddly.
This is where my love for blockprinting comes in handy. Designing with only two colours and suggesting shapes and silhouettes using contrasts, without drawing the actual lines, that’s all printing fun, baby!
Knitwear designers know this fun too:
Autumn Fire Mittens by Jouni Riihelä and Leena Riihelä. I have this very kit!
These are modern Finnish mitten designs by Riihivilla, a small one woman company, which sells yarn and mitten kits with yarn and pattern. All yarn is Finnsheep, one of my all time favourite European breeds. All colours come from plants and fungi and Leena shares her knowledge and experience about these freely. These colours have much more depth then factory dyes. Again a fellow wool woman very much deserving of our cheer. Visit her shop here: Riihivilla.
I love how the dark and the light colours are arranged in horizontal bands while the overall design flows on, vertically. You see the trees even though the stem internally changes from the darkest to the lightest colour. There’s some cunning use of contrast going on here! Worth studying.
Another inspiration is this design by Angela McHardy from etsyshop Clovaknits:
She alternates the colours in broad bands and uses the background colours in smart ways. The coloured zigzags lie on top of the white background. But in the coloured bands it’s the black that lies on top.
I particularly like how the black ventures out a bit into the first white band that borders it, at the owl’s “toes”. This could be used more, letting the lines of the animal get into the second main colour. (My main colours are white and dark red brown. The other colours will be the accents.)
This is really intelligent stranded knitting design, I am wildly inspired by it! By the designing methods that is, the design of the cushion itself runs the risk of being dated in a couple of years I think.
So that’s what’s all been in my head, milling around… I’ve noted some of my preferences: that Art Deco pattern for overall organization…. bold shapes to suggest woodland creatures….
I toyed with the yarn… I scribbled and doodled…
CONCLUSIONS: KILLING MY DARLINGS
Although I can’t wait to explore the colour design lessons from the Riihivilla mittens and Clovaknits cushion I think I should not put them in my cardigan. I’ve come to the conclusion that focusing on this part of the design will probably make it impossible for it to be a timeless design. A lot (all?) of the charts I’ve seen for woodland creatures are firmly rooted in this era: the first two decades of this century. They are modern, with clean lines, a bit cartoonsy, a lot of cutesy, borrowing shapes and styles from ’50s and ’60s patterns. It would be nearly impossible to design one that isn’t akin to this…
Therefor a woodland creatures combination should not be the main thing in my cardigan.
The overall structure should be the main thing.
So I’ve decided to split the two. I’ll play with funny creatures and bold shapes and broad colourbands in a separate piece of knitting. A shawl or a blanket perhaps. Still stranded, still with a steek and still using the yarn in the top picture. I’ll have such fun trying to make a funny design while trying to keep floats to a minimum! I’ve already worn my Owl Sweater around my neck to determine if this yarn is suitable for next to neck wear…
yoke sweater with owls and coloured bands? soooo 2012.
CONCLUSIONS: MY WOODLAND CARDIGAN
Can you see what I plan to do? I’ll have the random leaves that grow from the stalks somewhere low on the cardigan but upwards they will be just random lines, not trees at all.
Except somewhere high up on my back, there one stripe will bend sideways and an owl will be sitting on it. Two or three leaves at the end.
There could be a squirrel twirled around a stalk somewhere else… perhaps on a sleeve.
Near the bottom end of the cardi the leaves could be stacked in one place , with a little hedgehog poking its nose through.
But I’ll keep the animals too a minimum, they are details. Cutesy details.