Wednesday, July 04, 2007

Midsummer Night Shawl


It's the Fourth of July, and I'm in a little coastside town near San Francisco called Pacifica. Pacifica is known for its foggy days. In fact, we even have a Fog Fest every September, a street festival dedicated to wet mist, with sand castles, children's games, food, fun and a local drink called a Fog Cutter that would burn the chill off of anyone.

But I was born in San Francisco, which has its own share of foggy summer days.

As anyone who grew up in City knows, the number of times the fireworks have been clearly seen over San Francisco Bay on the Fourth of July can be counted on one or maybe two hands.

(As I get older, I have to add a few more fingers.)


Where I grew up, on Russian Hill, every Independence Day we would walk to the top of the crooked street, at the apex of Hyde and Lombard Streets, and look down the hill toward Alcatraz, sticking up like an umbrella in the cool summer Bay tea.

Typically, we would see the fog and a few glowing spots of color. We would shake our heads, zip up our parkas, and walk back down Hyde Street to Swenson's for an ice cream cone.

Our weather ranges from cool to cooler on most summer nights. The misty fog spreads inland from the Pacific Coast in the late afternoon, cuddling the City with its damp white blanket. This may seem
romantic when dining at the Carnelian Room, 52 stories above the Financial District, where you can see only fluffy mist beneath and blue sky above you.

Or, it may seem ominous and exhilerating as you perch at the edge of a cliff at Land's End and watch the creeping white tufts crawl through the Golden Gate, the bridge perm
eating the fog into white tendrils that merge together over the Bay, and finally climb the hills and drift into the valleys where they dissipate into nothingness.

We natives can feel it out there.
We can smell the saltiness in the afternoon wind. No one where we live has air conditioning.

Cool summer weather calls for a lovely midweight shawl -- something to wrap around the shoulders at the first sign of foreboding afternoon breezes.


A few months ago, I began corresponding with Margaret at Inspirations Yarn about the possibility of test knitting her latest shawl pattern.

I had sampled some of her beautiful hand-dyed yarn and loved the quality and her color sense. She sent me the pattern and yarn, and I got to work. I was very pleased with the clarity of her writing.

The Midsummer Night Shawl is knitted in an Elfin Lace pattern that is straightforward and somewhat easy to memorize.

I would call this an intermediate lace pattern, although beginners would be able to tackle this shawl while learning a few new tricks, such as knitting on a border or chart reading. The pattern is written out as well as charted.

The yarn color is Heirloom Rose, a gorgeous blend of rose, peach, and pink that blend together in bright harmony. The colors would compliment any skin tone, and I love the way the lace pattern shows off the yarn and the design equally well.

Saturday, June 30, 2007

Lacis Safari

The life of every lace knitter must include a visit to Lacis in Berkeley at least once, or many times if possible. One must make all necessary accommodations and do so without fail.
~ a Lace Knitter’s Tenet




I made the journey on Tuesday, June 26, with Laritza of the Knitted Lace forum. She was in the Bay Area for a conference, and I offered to play safari guide. I had been to Lacis in the past with my knitting group, the BAWDies (Bay Area Wool Divas) and on precious few other occasions.

The trip was not difficult, since we were in good company, knitting and chatting the whole way on BART. We disembarked at Ashby Station and walked one block to the lace Mecca that is Lacis.


Lacis is many things. First, the definition of Lacis is Filet lace (also known as Embroidery on Knotted Net, Lacis, Filet Brodé and Poinct Conté), a needle lace created by darning on a ground of knotted net or netting.

But in Berkeley, Lacis is:

A shop
A lace museum
A library
A costume research center
A showplace
A 501 (c)(3) nonprofit
A tribute to Kathe Kliot, its founder

The displays alone are worth a lengthy pilgrimage – for Laritza, a plane, a car and two trains were required. Lacis Museum, adjacent to the shop, would soon be displaying a special exhibit of handknitted lace. In fact, the exhibit opened to the public on June 30, but we were there a few days early, in time to see the beginnings of what promised to be a fantastic exhibition.

When we walked in, we first noticed a two-tiered display dedicated to lace knitting. The items included lovely handknitted laces, books on lace knitting, and tools of the art. One example was knitted by museum staff member Yasmin Syed from the Lacis publication Knitted Lace Designs of The Modern Mode, Book 1, by Kazuko Ichida. The pattern is based on the Glockenblume design by Herbert Niebling (Elsa Kunststrickheft, 3044, Modell 122). This new Lacis publication includes 31 designs of the “Niebling school,” and I was thrilled to thumb through an advance copy on display. Another lace tablecloth was knitted by Kathe Kliot herself, the late founder of Lacis.

But this lovely table only whet our appetites, for more discoveries lay further inside this magnificent shrine to the love of lace. Lacis is in a huge space comprising several storefronts at the corner of Ashby and Adeline in Berkeley. The main room houses examples of lace of every kind imaginable. Along the righthand wall, we found an amazing display of laces: pre-Columbian, Teneriffe of the Canary Islands, Chantilly Lace, Irish Crochet Lace … it went on and on.



In the back of the main room, an incredible assortment of books mesmerized us for quite some time. The lace knitting books were abundant, more so than the last time I had visited. I chose to bring home Muestros y Motivos, Tricot Hogar #1, a book I had wanted for a long time. I had only seen a few photos of the designs in this book online, but picking it up and leafing through its entirety convinced me to purchase it. In addition, we found books on costume, bobbin lace, nalbinding, and a protected shelf of vintage and rare books. All of these were for sale. Lacis’ collection is so enthralling, it nearly stopped us in our tracks.


But there was so much more to see. The back of the store held walls of needles and tools of every shape and size for every type of lacemaking, as well as other needleworking arts. I was delighted by the assortment of needle cases, the many thimbles, the bone knitting needles, the Inox I-cord maker (which I had never seen up close), the grommet punches, and unique thread cutters. At one table nearby, a young lady sat attaching lace to a bride’s veil – a special service Lacis provides. She said they were especially busy during the June wedding season.


In the middle of the room were boxes of threads in numerous colors from DMC, Flora, and others. They not only carry a wide variety of colors, but also numerous thread sizes of each color. I also spotted a recent shipment of Kaalund classic 2-ply wool – beautiful Australian laceweight merino in gently undulating colors that lend themselves well to lacework.


Then we took a turn into another room and found ourselves admidst a slew of glass-topped display cases, filled with beaded bags that would make a bag-lover cry. The work was lovely and meticulous. You could imagine the delicate gloved fingers of Victorian ladies clutching these bags as they strode to the opera or a cousin’s wedding. The finest handwork made these bags either by sewing them or by weaving them on a bead loom.


A few steps into another room were steps into another world, another time. We had found ourselves in the Bridal Laces exhibit. The lights were off to protect the delicate relics. A young lady turned them on for us and we marveled at the beauty of bridal gowns of centuries past. If we only had more time! Alas, it was nearly time for us to leave.

I asked the clerk if any other pieces of lace knitting to be included in the exhibit were hanging in the shop, and to my delight she pointed upward – toward the light fixtures and a black drape that hung over a wall, close to the ceiling. I gasped when I looked there. Shetland lace, doilies, and Orenburg laces were draped above our heads! These would be prominently displayed during the Knitted Lace exhibit to begin on June 30, but for now, they were hanging nonchalantly on a wall above us. I asked if I might snap some photos, and came away with a sneak peek of their newest exhibit.


I must admit I nearly always avoid the checkstand and the cashier when walking into a shop. Why is that? So it is not surprising to me that I nearly missed the jaw-dropping display of vintage tatting shuttles, chatelaines and other surprising gadgets and gewgaws in the display case under the register. Thank goodness I purchased something.

On the long ride back, we talked about the wondrous things we saw and said more than once, “It was worth it.” I will return.

Monday, June 11, 2007

Victorian Lace Today: Myrtle Leaf Errata

My cousin is getting married in Canada this August, so I began to knit the Myrtle Leaf shawl pattern from Victorian Lace Today as a gift for his fiancee. After the first repeat, I noticed something was wrong.

The Myrtle Leaf is a 12-row, 11-stitch repeating pattern. The center of each leaf is somewhat open, and then it should tighten up and come together with a K2tog on the last row of the repeat.


My leaves were not properly formed.

I thought that I must have missed a decrease somewhere, so I tinked back one row, and made a second attempt. The second attempt was as funky as the first.


I pressed on and knit another 12 rows, just to see if the error was mine or the pattern's.

On the second repeat, it was obvious that something was definitely wrong with the chart. Indeed, I had made a careless mistake by not checking for errata.


Most first printings of knitting books have errors. I didn't think to look for the errata on the publisher's website before beginning, which would have saved me time and a headache.

Victorian Lace Today now has three pages of errata. Knitting Universe has the errata in PDF here.

The Myrtle Leaf pattern and chart have been corrected. The instructions now include a special note for the last row of the repeat.

The first K2tog symbol on that row is to be read as K1 at the start of the row and is indicated in red on the chart, and then K2tog for every 11-stitch repeat thereafter. This unusual instruction allows the subsequent K2tog's to line up properly and close the bottom of each leaf.

In addition, another K2tog symbol has been added at the end of this row. This final K2tog compensates for that red K1 at the beginning of the row.


Now that I've completed two repeats with an accurate chart, the difference is quite noticeable. I'm sure I'll flow along smoothly and have a lovely shawl to give as a gift.









Wednesday, May 23, 2007

Socks!



Here are two fun samples I've made for my friend Tina at Knitwhits.

First is CRUNCH - a pattern in the Socks for Tots line. The primary colors are great for little feet. I enjoyed making these.

The Crunch socks come in other color combinations, too, if you prefer more a pastel palette. If you're a "letters" rather than a "numbers" person, you can make your alphabet SOUP socks.


By popular demand WALLIS is now available in adult as well as kid sizes. I love the medly of bright colors in these socks - salsa!

And yes, this is a shameless promotion of some lovely sock designs. Tina has a great variety of patterns - hats, socks, purses, scarves, bikinis, and even pet toys. I've knit several Knitwhits patterns and they are well-written and easy to follow. The kit comes with the right amount of yarn in each color, so you don't have to buy a full ball of each shade.

Both of these socks require some skill in knitting with two colors, but it's not difficult. In fact, it's a fun exercise in changing colors. Like fair isle, there's never more than two colors per row. I don't usually like to show the inside, but here is what my stranding looks like.

Tuesday, April 24, 2007

Saturday's Child ... or Why I Knit Samples

Have you ever had a dream of swimming in blue water, light prickling the surface far above your open eyes?
Did you feel content to float in the quiet, or did you want to break the surface and come up for a gulp of air? When you came up, did you breathe gratefully, slurping in the warm oxygen and swim to shore, or did you take another breath and slowly sink down below the surface again?


April is a sea of projects.
Needles are in my hands on the train during the morning and evening commute, and they accompany me to my appointments.
They even pester me at tea before a friend comes to join me. The projects are samples with due dates that seem to come as frequently as the daisies that pop up on my lawn.


Monday's Child

Monday's child is fair of face.
Tuesday's child is full of grace.
Wednesday's child is full of woe.
Thursday's child has far to go.
Friday's child is loving and giving.
Saturday's child works hard for a living,
But the child who is born on the
Sabbath Day
Is bonny and blithe and good and gay.

I was born on a Saturday.

I have knit samples for several designers, so you may call me a "sample knitter" or a "test knitter." I never thought of this occupation as a full-time job, but lately, much of my free time has been dedicated to knitting samples and reading patterns. The samples I knit have been in books and magazines, have been hung in far-flung shops in various knitting ports of call, have been used as giant gauge swatches, and have been shown to many people I will never meet.


All of this sparks incredulity in my friends and family who seem to think I am spending ridiculous amounts of time knitting all of these lovely items, giving them away and getting very little in return.

So, what is the draw? What do I gain in return for all this knitting for others who don't have time to knit the samples themselves?

I knit samples to learn something. Each time I work with a different designer, I learn something new about the design process. I learn about the construction of garments, the composition and behavior of yarn under duress, stretched to its maximum girth or manipulated into its most unnatural posture. I learn about the publishing world and the pressures and deadlines that come with commitment. I learn about beauty and creativity.

I often receive yarn in payment, a common practice, especially among budding new designers. But designers are each and all unique. One person pays $0.06 to $0.15 per yard, depending on the complexity of the pattern, and the amount of work involved. Another person pays equivalent amounts of yarn per project. Yet another pays double for lace work. One designer paid me with an aknowledgment in her book, a copy of the book, and an invitation to the book release party in New York.

I've stocked the yarn closet with the fruits of my labor. Some of them are even named for fruits: kiwi, cranberry, canteloupe. A knitted yard brings another unknitted yard of yarn to the stash. The yarn is piling up. The projects are neverending.

One day, I don't know when, I will stop making samples. After all, I have piles of yarn to knit before I sleep, and I do want to make some things for me. I'm not ready to swim for shore yet, but it certainly is tempting.

Sunday, March 18, 2007

Gracie Shawl - Finished!

Last weekend, I finished the Gracie Shawl. The pattern is from Stahman's Shawls and Scarves by Myrna Stahman. I used one skein of Schaefer's Andrea, 100% silk laceweight. The "Elena Piscopia" colorway includes blue, gold, goldish green, rust, and magenta. This skein of Andrea was 1,093 yard, purchased from Greenwich Yarn in San Francisco. Gracie took about one month to knit, from start to finish.

With so many colors in the yarn, I was concerned they might obscure the lace pattern, but it turned out beautifully. The colors add another dimension.

Since this Faroese shaped shawl starts at the top and expands downward, I didn't worry too much about not having enough yarn. I could stop at the end of any repeat, with enough yarn left to finish the border. Swatching is important in most cases, especially in lace, to determine the finished size and yardage required.


I chose a different border than the one recommended in the book. Instead of the Gracie border, I used the Idella border, which is a bit wider and more "holey" than the Gracie border. The Idella border has the same number of rows per repeat as the Gracie border.

In either case, the border is knit perpendicular to the bottom of the shawl. I used a DPN the same size as my circular needle and knit the border stitches according to the chart. The last stitch of each border row is knit together with one stitch of the shawl body on each right side row. The wrong side border rows are knit plain.

Using a DPN is the fastest way for me to flip the narrow border back
and forth as I am knitting. Myrna Stahman recommends knitting to-and-fro (knitting backward for wrong side rows) to avoid all this flipping. For me, neither way is any faster.

I wove in a few ends, not cutting them. The ends should be left hanging until after blocking. During the blocking stage, they may draw in as the lace is stretched.

As I usually do when blocking a shawl, I quickly soaked the lace in cool water with a drop of liquid soap added. Then I rinsed it and gently squeezed out the excess.
The water was orange! I was concerned that the dye had not properly adhered to the yarn because the water was REALLY orange. I rolled the wet shawl in a dark towel, hoping for the best. I was afraid a lighter towel would be stained with orange dye.

Even with the loss of some of the rusty orange dye, all the colors still looked vivid. Whew. Only the rust color seemed to have softened, but it wasn't dull.

The shawl is bigger than my blocking board, so I chose to block it one half at a time. I threaded two 1/16" welding rods through the two lines of holes that border the center section.
These became my anchors. I pinned the rods to the board, and stretched the lace out to one side only. I had enough room to block the left side of the shawl into a nicely curved shape. After a few hours, I unpinned the left side and then blocked the right side in the same manner.

This is the second shawl I've made from Stahman's Shawls and Scarves. The first was the Susan shawl I made for my sister, which you can see here.

Sunday, February 25, 2007

Stitches West 2007: Yarn-o-rama

I've just begun to recover from my visit to Stitches West 2007, the biggest knitting conference on the West Coast. The event was held at the Santa Clara Convention Center, as it was last year.

Taking Caltrain from Millbrae to Mountain View, and then the VTA Light Rail from Mountain View to the Santa Clara Convention Center could not have been simpler. The trip was only about 45 minutes each way. The VTA stops directly across the street from the convention center.

I remembered to print out my Market pass before I left home, so I didn't have to stand in line with about 50 other people waiting to purchase tickets. Inside, I felt the familiar trepidation, disorientation and excitement of previous years. The crowds can feel somewhat oppressive, especially near the front doors and at certain popular booths.

In addition to the regular door prize drawings, a Grand Prize drawing would be held on Sunday. Golden tickets awarded by vendors allowed one entry per purchase.

The first booth that caught my attention was
Skacel. I had been reading about the new Addi Lace needles and was pleased to see some samples right there on the table. The needles are hollow brass, with longer-than-average tapers. The points are extremely sharp, perfect for lace knitting. The reddish cable felt similar to Addi Turbo, and the rep said it was the same material. The joins were very smooth. Cable length ranged from 24" to 47". Two vendors at Stitches were the first to receive the Addi Lace needles: The Yarn Lady and Yarn Barn of Kansas. I found that The Yarn Lady does have them listed on their website; but Yarn Barn does not at this time.

These needles came about because a certain blogger made a suggestion to Skacel and then spread the word! Thousands of fervent letters were sent to Skacel, and these new needles are the result of the campaign. Thanks,
Grumperina!

The bigger vendors like Yarn Barn, The Yarn Lady, Webs, and others took up huge booth spaces, and the lines for purchasing were long on Friday morning. By the afternoon, the crowds had dwindled.

Some of my favorite booths included Just Our Yarn and Tess Designer Yarns. Just Our Yarn dyes small batches of tencel, wool, camel down, and other lovely yarns. And Tess is well-known to Stitches attendees. Her booth was packed with people. The hand-dyed colors were gorgeous and the cashmere was the most lovely I had touched or seen at the show.

I made my usual stop at the Interlacements booth. I believe that big guy wearing the jester's hat was Judy's son Clay, who was helping customers. I picked up three different hand-dyed yarns for $20 each. In the photo, from left to right:

Dyer's Choice - 93% mohair, 5% nylon, laceweight boucle

Oregon Worsted II - 100% merino wool, worsted weight

Dyer's Choice - 100% silk, sport weight

I also bought some rosewood Holz & Stein needles for the first time. These needles are made from wood derived from the musical instrument industry, and they are beauties. Yarn Barn of Kansas had just a few pairs hanging on a rack with Suzanne's ebony needles. (I've also seen Holz & Stein needles listed at Catherine Knits online, although the shipments are few and far between. If she has some listed, you should call to check availability and to order.) In addition, Yarn Barn carried the super-fine 5-0 lace needles from Lacis. Lacis is only a short BART ride away in Berkeley, but I never seem to get over there. Into the shopping bag they went. Those two balls of wool are from JoJoland - it's 100% merino wool, fine laceweight. I noticed other vendors selling this wool with their own shop labels on it. I was curious about this "generic" wool, so I took a chance and bought it. When I have some experience using it, I'll report.

Shopping was just one enjoyable part of the Stitches experience. I was able to meet several designers and vendors. I saw again Cheryl Oberle, author of
Folk Shawls, one of my favorite shawl design books. I also saw again Ann and Eugene Bourgeois of Philosopher's Wool, whose two-handed fair isle technique I learned from their excellent video.

The biggest buzz was that Jane Sowerby, author of the new book
Victorian Lace Today, was giving a talk, hosting a fashion review based on the book, and signing books at various times throughout the conference.

My most memorable experience, though, was meeting Eugen Beugler. I have seen several of his designs, including the
Frost Flowers and Leaves shawl from the book A Gathering of Lace and the Spring Blossoms shawl. He is a regular member of the Lacy Knitters Guild and has attended Stitches in the past. This year, he was featured in the demo area, answering questions about lace knitting and showing some of his beautiful work. I was stunned by the lovely Herbert Niebling tablecloth he presented called Anemone. I have yet to find a photo of the pattern online. Mr. Beugler is 83-years-young, and as charming as his pal Lew, also of the Lacy Knitters Guild.

One of Mr. Beugler's patterns that I intend to knit is the Theatrical Lace shawl (pictured in purple, below) from the Best of Knitters Shawls and Scarves. Thanks to my knitting pal Nina, I am now the proud owner of this book filled with amazing lace patterns.

Saturday, February 10, 2007

Gracie Shawl ... and more yarn

I wasn't going to buy any new yarn before Stitches West, the knitting convention at the Santa Clara Convention Center on February 22-25, 2007. But ... the best laid plans of mice and men often go awry.

After fondling Schaefer's Andrea 100% silk at my
LYS on several visits, I was smitten enough to take some home. It was truly love at first sight. Schaefer's saturated colors are intense in silk, and somewhat antagonistic.

Knit lace with space-dyed yarn? How dare you! Most lace knitters know that a lace pattern can look muddled when using variegated yarn. Why knit a complex pattern of holes with a yarn that doesn't show off the design?


I am daring to knit the Gracie Shawl, a Faroese shawl pattern from Stahman's Shawls and Scarves, by Myrna Stahman. The lace pattern is repetitive and somewhat geometric. I think it is enhanced by the lovely color changes in the yarn.


Andrea comes in a variety of handpainted color combinations, all named for "Memorable Women." The colorway I'm using is "Elena Piscopia." Schaefer's Andrea is 100% silk, 3.5 oz and 1093 yards. The gauge is 8 sts to the inch in stockinette.

Elena Piscopia 1646-1684

Elena Piscopia was born into a Roman family whose ancestors included cardinals and popes. She was recognized as a prodigy by the age of seven and spoke seven languages, played several instruments and composed music by the time she was seventeen. Her father refused to allow her to enter the Benedictine Order, for which she had secretly prepared, and instead she became the first woman to study theology at the University of Padua and the first woman to earn a doctoral degree. She taught mathematics at the university for the rest of her life, yet it would be over 300 years before another woman earned a doctorate there. Her achievement is honored by a marble statue in Padua and a stained glass window at Vassar College in New York.

Now, I have three shawls on the needles: Shirley Paden's Shetland Lace Shawl, the Gracie Shawl, and a sample crochet cape for Kristin Omdahl's line. You would think that I have enough in progress, and that I don't need to buy even more laceweight yarn.

Well,
Colourmart has been calling my name for many moons. This yarn vendor on eBay sells mainly cashmere remainder yarns from Italian and Scottish mills.

I saw one that I simply had to try, and the price was right. I won this lovely red cashmere/merino/viscose blend for only $11.00. The weight is very light, even lighter than Andrea, and similar to the weight of the black wool I'm using for the Shetland Lace Shawl.

I don't yet know what this is going to be, but it deserves to be something beautiful. Maybe the Paisley Long Shawl from Fiddlesticks.

Monday, January 15, 2007

A Big Cone of Yarn for a Shetland Shawl

This is what happens when you buy a gigantic cone of wool/silk yarn from eBay. Yes, it's 50% wool and 50% silk, just like the well-known Zephyr by Jaggerspun.

But had I read the description more carefully, I would have noticed that the weight in the eBay listing was 2/23. So, what's wrong with this picture?

The wool I bought is lovely, but it is NOT from Jaggerspun. Jaggerspun Zephyr comes in 2/18 lace weight. (It also comes in DK weight.) This cone of yarn at 2/23 is somewhat thinner than the Jaggerspun Zephyr.

The seller called this yarn Zephyr, because that is what's on the label. In fact, if you hunt around, you'll find many different companies have a yarn called "Zephyr." So, what did I get for my $20?

How to Determine Yards Per Pound from a Cone Label


The cone label says the yarn is from Phoenix Dye Works in Cleveland, Ohio. The yarn weight on the label is 2/23. The actual weight is about 2.5 lbs, including the cone itself.

Jaggerspun lists its 2/18 wool/silk at 5,040 yards per pound. I know that 2/23 is a skinnier yarn, and is going to have more yards per pound. So how many yards of yarn did I buy? And how does 2/23 yarn compare to 2/18 yarn?

The first number of the fraction is the number of plies. A ply is a single strand, so I have two plies.

The second number of the fraction is the yarn thickness. The yarn thickness is determined by the number of times the yarn is spun at the worsted standard of 560 yards per pound.* (Cotton and linen use a different standard.)

The yards of yarn on my 2/23 yarn cone, which weighs about 2.5 lbs, could be calculated like this:

Multiply the bottom number times 560:

23 x 560 = 12,880

12,880 divided by 2 plies = 6,440 per pound

6,440 x 2.5 lbs (total weight) = 16,100 yards (wow!)

I don't know how much the cardboard cone weighs, but I would need to subtract it from the total weight to get an accurate number of yards. A good estimate would be about 0.10 lbs for the cone. In that case, I would substract 0.10 from the total weight of 2.5 lbs. Then I would calculate:

6,440 x 2.4 lbs (total weight minus the cone) = 15,456 yards.

Truthfully, I will probably never use the entire cone of this yarn, even it were less than 10,000 yards.

*Note: After some additional reading, I corrected the worsted standard to 560 yards per pound. This seems to be the most often used number. Some websites use 500, but that seems to be the minority.

The Shetland Lace Shawl

I decided to knit Shirley Paden's Shetland Lace Shawl from Vogue Knitting Fall 2005 with my now infamous Zephyr yarn. This must be my favorite issue of VK, since I've made at least three items from it.


If you recall, the lace shawls in this issue did not come with charts! Lace knitters around the world were up in arms about this. If you are a lace knitter, you know what I mean. Vogue called it a print space issue and promised to post the charts on their website.

For me, charts are a necessary part of any lace pattern. If a pattern doesn't have a chart, I'll make one myself. A chart allows you to see where the increases and decreases fall in relation to the previous row. Have you ever tried to knit a lace pattern like this?:

Row 16: 1 selvage st, k2, yo, k2tog, k1, yo, sk2p, *yo, k1, k2tog, yo, k3, yo, k2tog, k1, yo, sk2p; rep from *, end yo, k1, k2tog, yo, k2, 1 selvage st

Imagine reading rows and rows of this, without seeing on a chart where the yarnovers are supposed to line up with the previous row's yarnovers.

And, to make it even tougher, this is a Shetland lace pattern, with knitted lace on every row -- no plain rows. Technically, "knitted lace" is lace on every row. "Lace knitting" is lace on every other row, with plain knitting on the alternate rows.


It took a few months before VK finally published the charts for the Fall 2005 lace shawls on its website. The Shirley Paden Shetland Lace shawl was my favorite. I began to knit with a size 6 needle, then decided the gauge was too large and ripped it out. I settled on a size 4 needle.

With this type of knitted lace, it's difficult to see the pattern unless you stretch out the piece. I stretched it as much as possible and got a good look at the Webs, Spiders and Diamonds in the Shetland lace. The shawl will have four pieces which will be sewn together. The center will be two rectangles, grafted together. A separately knitted lace collar will be sewn to one long side. Finally, a knitted lace edging will go around the entire shawl. This is a big project, and I hope to learn more about Shetland lace shawl construction along the way.