Top-down crochet sweaters: fabulous patterns with perfect fit 9781612126104, 1612126103

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∏OP-DOWN C‰ OCHE∏ SWE ATE‰ S ✦

Fabulous Patterns with Perfect Fit

D OR A OH R E NS T EI N

ß

Storey Publishing

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✦ Edited by G W E N S T E E G E A N D M A RY N O R R I S Art direction and book design by C A RO LY N E C K E RT Indexed by N A N C Y D. W O O D Cover and interior photography by © M E L I N DA D I M A U RO except for pages 34, 37, 39, 61, 69, 75, 80, 89 bottom left, 97, 103, 112, 121, 136, 147, 151 bottom left and back cover, inside by M A R S V I L A U B I page 32 by J O H N P O L A K ; and back cover, author by © K E V I N P U T N A M Diagrams by C H A R L E S V OT H Illustrations by I L O N A S H E R R AT T © 2016 BY DORA OHRENSTEIN

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Printed in China by R.R. Donnelley

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CONTENTS Introduction Why Crochet from the Top Down? vi Top-Down Construction Basics 2 A Note about Yarns 4 The Garment Pairs 5

Part 1: The Techniques

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CH APT E R 1 THE TOP-DOWN CROCHET METHOD 11

CHAPTER 2

CHAPTER 3

ADDITIONAL TECHNIQUES FOR TOP-DOWN GARMENTS 28

MAKING YOUR GARMENT FIT 40

Necklines: An Overview 13

Mastering Stitches 30

Measuring Yourself 43

Yoke Shaping 15

Gauge and Drape 31

Measuring a Favorite Sweater 45

Building Necklines 19

Blocking Your Swatch 33

How to Read a Schematic 46

Trying On the Yoke as You Go 22

Choosing Yarns 34

How Sweaters Fit Your Body 47

Creating the Underarm 24

Blocking Your Garment 37

Choosing a Length 48

All about Ease 43

Beginning the Body 26

Fibers and Fit 49

Working the Sleeve 27

Making Alterations 49

Part 2: The Patterns

56

AVA AND BETTINA 58

LUNA AND JANELLE 85

GENEVIEVE AND ZORA 133

ISOLA AND CHLOE 71

JADE AND MAGDA 98

NANETTE AND ERDE 149

ROSINA AND ISABEL 120

INDEX 164

ACKNOWLEDGMENTS 169

ABBREVIATIONS 168

METRIC CONVERSION CHART 169

IN T RODUC TION Why Crochet from the Top Down? In my travels as a teacher and designer, I’ve heard many crocheters voice one burning desire: to make beautiful garments that really fit. This book aims to provide the tools and knowledge to make that dream come true, with a focus on top-down, one-piece construction, a method that many favor.

“When did the sweater as we know it today first appear? And where? Possibly in the late seventeenth century, but certainly by the beginning of the nineteenth century, the sweater, often called a jersey or jumper and sometimes referred to as a knitted frock in historic records, seems to have spontaneously appeared in many separate cultures and locations in the northern climes: the British Isles, Scandinavia, eastern Europe, but not North America.” — Knitting in the Old Way, by Priscilla A. Gibson-Roberts and Deborah Robson

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In comparison to knitting, crochet as we know it is a younger art, having fully evolved only in the nineteenth century. At first, crochet was mainly used to make small purses, pillow tops, and edgings for linens. By the late nineteenth century, garment making was as common in crochet as it was in knitting, and patterns for sweaters, coats, dresses, mittens, hats, and undergarments for adults and children can be found in publications of that era.

TO P- DOW N CO N S T RU C T I O N BASICS Numerous methods for constructing sweaters also developed during the late 1800s, and it’s probable that the top-down method was among them. There

are examples to be found in early twentieth century publications, though they are rare compared to other constructions. More commonly, garments were made starting at the bottom and working up to the neckline. The top-down method really took off with the 1996 publication of Barbara G. Walker’s Knitting from the Top. Walker’s detailed, practical, and friendly approach inspired many to try the technique, and interest has grown exponentially in the decades since. Sweater makers’ enthusiasm for top-down, onepiece, seamless designs remains strong, and it’s not hard to see why: you can avoid the tedium of making seams and gain the elegance of one-piece design. There’s a nice orderly system to the method, once you get the hang of it. Best of all, you can try the garment on as you make it, adjusting stitch and row counts along the way to ensure good fit. Among crocheters, the brilliant designer Doris Chan’s stunning crochet garments, all made top down, have sparked the popularity of this construction method. When making a top-down sweater, you begin at the neckline and then build the garment from there, creating fabric that goes over the shoulders and upper torso, then making the rest of the body. The hallmark of top-down construction, and what distinguishes it from other methods, is the way the sweater is shaped as we work from the neck down to the underarm. When working from the bottom up, one must decrease to arrive at the smaller neck area, but when working top down, you are increasing to gain more fabric as you move from the neck to the torso. The change of direction means that stitch patterns face down — that is, with the top of the stitch pointing to the bottom of the garment. The lovely result is that crochet increase patterns, in particular, look very pretty snaking down a raglan line. The upper section of a garment, from the neck to the underarm, is called the yoke. This book features two

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CIRCULAR YOKE ON ZORA

styles of yoke shaping: circular and raglan. The pattern pairs Ava/Bettina as well as Zora/Genevieve are among the circular yokes, while the pairs Isola/Chloe and Nanette/Erde are examples of raglans. Each method has its merits and quirks, and I hope you’ll enjoy exploring both as much as I have. This book showcases the top-down technique through fourteen original sweater patterns based on seven different yoke concepts. To make things even more interesting, each sweater in the pair is made with a different yarn, usually in a different gauge, in two different sizes, and with a few additional variations. Sometimes it’s the neckline that’s varied, sometimes the silhouette is tighter or looser, the overall length of the garment changes, or a detail is added at the collar or cuff. You’ll find a variety of garments for cold and warm weather: pullovers, cardigans, jackets, tunics, and vests. Many don’t require advanced techniques or skills, and use basic stitches that any crocheter can

RAGLAN YOKE ON CHLOE

master, while a few patterns are more advanced. These garments are designed to work on a range of bodies, easily customized to your fit and style. They have clean, simple lines that I think of as classic, meaning that they can work in a variety of yarns and fibers and can be made very close fitting or more roomy. Depending on your yarn choice and how you style each one for your body, they can have a casual or dressy look. They’re the kind of sweaters that will stay beautiful and have a place in your wardrobe for a very long time. Within these pages we will unpack and explore what’s possible when making top-down garments, giving you, the crocheter, many options. I invite you to search this book for garments that are appealing, and then consider the skills you have, as well as those you want to learn. Don’t neglect to study the advice given in the section on measurements and fit — this will ensure your garment looks and feels great when you’re wearing it.

The hallmark of top-down construction, and what distinguishes it from other methods, is the way the sweater is shaped as we work from the neck down to the underarm.

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A N OT e A B O U T yA R N S You won’t find any designs in this book made with worsted-weight yarn. I find worsted-weight or heavier yarns work against drape in crochet garments, and drape is a quality I highly prize. It is what makes fabric hang well on your body and causes the garment to move fluidly as you move. Beautiful drape can be harder to achieve in crochet than in knitting, because our stitches have heft. But you certainly can make a crochet sweater that drapes as well as a knit one! It’s really all about the right combination of elements: thinner yarns, flexible fibers, and tall or open stitches.

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The sweaters in this book use yarns ranging in weight from DK to fingering. (I avoided lace weight simply because of the labor involved.) Fibers were carefully chosen to highlight the quality of drape, too, among them alpaca, silk, soft acrylics and cottons, linen, and Merino. The yarns represent a range of prices as well. In most of the sweater pairs, one is made with a higher-end yarn and the other with a budgetconscious yarn. Since very few commercial yarns are on the market forever, I’ve chosen classic fibers that are likely to be available in a similar weight when you’re searching for yarns in the future.

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T h e G A R m eN T PA I R S The book is arranged with simpler garments first, intermediate ones in the middle, and more advanced patterns at the end. None should be daunting to experienced crocheters, and all are accessible to intermediate crocheters. Those who are less experienced may wish to begin with the first two patterns and move on to the others as skills and confidence grow. Here’s a brief look at the seven garment pairs, in the order you’ll find them: AVA AND BETTINA are circular yoke tops, using basic stitches and soft, drapey yarns. Ava is liberally

bobbled, but its partner, Bettina, is not, for those who want to avoid the extra dimension. The silhouette of Bettina is slightly oversized and sports a playful look. In Ava, note how the silky alpaca yarn adds softness to the sweater’s slim silhouette.

AVA

BETTINA

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ISOLA AND CHLOE, our first raglan pair, are both short-sleeved, a good place to start for those new to garments. The lace pattern is simple and fun, not too open, and it looks great in sport-weight yarn. Isola has a tightcropped sleeve and is worked in a stretchy cotton that moves really well on the body, while Chloe, made with a wool-and-nylon variegated yarn, is a long vest-cardigan with a flared hem.

ISOLA

CHLOE

LUNA

JANELLE LUNA AND JANELLE are worked

in a stitch you don’t see often: linked double treble stitches, in alternating rows with half double stitches. With the yarns used here, a soft sock yarn for Luna and a cottonand-acrylic blend for Janelle, the fabric is super drapey. That’s why Janelle, a long, dramatic cardigan, can expand in all directions, and Luna is close fitting while still looking and feeling floaty.

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MAGDA AND JADE, the cabled couple, are made with very different yarns: a crisp, sportweight Merino-andsilk blend for Jade (which makes the cables really pop), and a fuzzy alpaca blend for the jacket version, Magda, for a softer effect. The dramatic cable used for both is quite simple, and the background stitches are extended half double crochet stitches.

MAGDA

JADE

ISABEL AND ROSINA are fun warm-weather tops, featuring a fabulous Peacock Fan stitch along with an inventive treble stitch for the body. Isabel is made with 100 percent cotton yarn that’s unusual in that it is very fluid with great drape. Rosina uses a feathery wool that’s surprisingly light and airy.

ISABEL

ROSINA

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ZORA AND GENEVIEVE return to

the circular style of yokeshaping. Both sweaters are worked in slightly fuzzy DK-weight yarns with lots of character. Eight lace panels adorn the yoke, but they are plotted in two different ways. Genevieve has a lacy collar and cuffs; Zora an open neckline and elbow-length sleeves.

ERDE AND NANETTE are the next pair, using crossed stitches to create a unique fabric: textured and dimensional, yet light and lacy. Erde is worked in lofty alpaca yarn that feels like heaven. Its counterpart, Nanette, is a cropped jacket with generous ease that looks great on many body types, made with a vibrant novelty yarn that has nice bounce.

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ZORA

GENEVIEVE

ERDE

NANETTE

BEFORE THE INSTRUCTIONS FOR EACH PATTERN you’ll find ample advice on yarn choices,

how to get the best fit, any tricky or unusual techniques, and lots more, so be sure to read the introductory text and all the pattern notes, too. For successful sweater making, it is necessary to focus your attention while working. You’ll be counting and marking stitches, measuring your work, maintaining gauge, and more. Making a sweater can be a more demanding undertaking than other projects, but oh, the satisfaction when you’re wearing your own creation and getting compliments on how great it looks! That’s when you get to say, “Thank you, I made it myself!” I hope you are feeling excited, motivated, and pumped! Which one will you do first?

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PART 1

T HE T ECHNIQU ES

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PA R T 1 : T h e T e C h N I q U e S

CHA PTER 1

The Top-Down Crochet Method

The top-down method of knitting sweaters promoted by Barbara G. Walker in her classic book, Knitting from the Top, is based on the knitted stockinette stitch and uses a percentage system to determine measurements. For this book, we are borrowing some of these concepts and adapting them to the structure of crochet and the styles of today. While crochet doesn’t really have a default stitch the way that knitting has its stockinette, a plain crochet stitch — be it single, half double, or double — can be used to make an entire sweater. But why not have a lot more fun than that? It’s the myriad and various stitch patterns that make crochet so appealing. The dazzling stitches in our craft’s repertoire can certainly accommodate the sweater shapes we need, but to use them in a topdown garment, we need to modify the strategies typically used in knitted sweaters. There are several challenges for the crochet garment designer: one is that crochet stitches have different heights, and another is that lace stitch patterns usually occur over several stitches and rows. Both of these facts add layers of complexity to the matter of shaping. The upshot is that for each sweater design, a precise method of shaping must be worked out by the designer. Walker used a percentage system for shaping the yoke, an all-purpose method that was perfect for her audience at the time. Today, crafters want more control of the silhouette and fit of their garments, and they are interested in exploring a

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range of garment styles, which I’ve aimed to present in this book. Working through any of these garments, along with the detailed advice given, will teach you how to achieve the dimensions that work best for your body and lifestyle.

Sounds simple, right? The concept certainly is, but when executing it with crochet stitches, there are many details to keep in mind. Let’s look at the method in greater depth.

T H E B ROAD STEPS TO THE TOP-DOWN METHO D

1

Work the yoke of the sweater, beginning at the neckline and increasing stitches regularly until reaching the bottom of the armhole.

3 Add underarm stitches that connect the

2 Divide the garment into four sections for front, back, and two sleeves.

4 Work the body of the sweater.

front and back body sections of the sweater.

5 Join yarn at the bottom of the sleeve cap and work the sleeves.

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6 Complete

PARTS O F THE SWEATER

yoke

e ev

sle

body back

left sleeve

right sleeve

neckline

front

sle

p

ca ve e e

ev ec

yoke, from above

ap

sl

front

yoke, side view

Ne C K L I N e S : A N OV eRVIeW As the term top-down method implies, we begin at the neck, with a starting chain (or a length of foundation stitches) that is not only large enough to go around the neck, but large enough to draw the sweater over our heads. Given that the average adult female head is about 21 inches in circumference, we have an idea of the minimum length of the initial chain, taking into account that crocheted fabric will stretch several inches. We can also begin with a wider or deeper neckline

to create a variety of styles for different tastes and figures. The neckline is an important element in making a sweater that suits and flatters you. Because the neckline frames the face, you’ll want to ponder what neckline is most complementary, given the shape of your head, length of your neck, and size of your shoulders. Consider, too, the function and warmth of the garment when planning the neckline.

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When you begin working your top-down garment, keep these points in mind:

If you’re not quite sure about your own preferences for necklines, try on some of your favorite sweaters and see what looks best. Get a sense of the overall circumference of the neckline, and also its width and depth. Use a tape measure to measure the neckline circumference of these favorite garments, laying the tape measure as shown at the exact top of one shoulder, then curving along the neckline to the opposite shoulder. The circumference of any neckline can be subdivided into its width and depth. A neckline’s width determines how far from the neck it sits along the plane of your shoulders. The neckline’s depth relates to how much below the neck it sits on the vertical axis.

• The true size of the neckline is not really reflected until you work the first row or round of stitches into the starting chain. If you are on gauge, this first round should measure as shown on the schematic for that garment — or a little less if you will be blocking. This is an excellent way to check gauge right at the start. • When you begin your neckline, its shape is round. But that changes depending on the type of shaping in the yoke: in circular shaped yokes, it stays round, but with raglan shaping, the contours become rectangular. • If you prefer to avoid a starting chain, you can use foundation stitches instead. That approach is used in Bettina, Isola, and Janelle, but if you prefer, you can adapt any of these patterns by working foundation single or half double crochet stitches instead of the initial chain. There’s more to say about necklines but before we do, let’s examine the meaty topic of yoke shaping.

N E C K L INES

Here are three necklines, from left to right they belong to Luna, Janelle, and Isabel. Think of neck width as a straight line going across the top edge of the neckline to the opposite edge. The narrowest neckline is Janelle's, the largest is Luna's, and Isabel's is in between. That means that Janelle will hug the back neck most closely. Isabel's neckline is the deepest of these three. Note, too, that Isabel's has a square-shaped appearance, because it has raglan shaping, while the other two are more rounded, as they are circular constructions.

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yOK e S h A P I N G Compare the amount of fabric needed to get around your neck to the amount of fabric needed to cover the tops of your shoulders and upper arms. That’s how much fabric you will be adding as you work your way though the yoke. The challenge is to add the right amount of fabric while also achieving the correct yoke shape, so that the sweater molds itself in a flattering way around the upper part of your torso. To achieve that goal and arrive at the proper dimensions at the bottom, the garment must grow rapidly, often on each row of the yoke. The larger the sweater size, the more quickly the yoke must grow. Here is why: while the neck opening doesn’t vary much from one size to the next — perhaps a difference of an inch or two at most — by the time you get to the underarm, the dimensions of the bust and two arms for a larger body mean a significant gain in fabric, reflected in the pattern as more increases. To use fancier

terminology, larger sizes need a more rapid rate of increase in order to achieve the desired stitch count. The dimension we aim for at the bottom of the yoke must be large enough to include your bust circumference plus the bicep circumference for both arms. The drawing below shows the circumferences for both neck and the bottom of the yoke, plus another dimension we need to consider, the yoke’s depth, or length. The depth of the yoke is the distance from the neck to the bottom of the yoke, which should end a little below the armpit. To make well-fitting top-down sweaters, be sure that the yoke is long enough to allow your arms to move freely, yet not so deep that it bulks up at the underarm. Just how long, or deep, does this yoke need to be to fit you well? If you measure yourself straight down neck circumference

neck depth bottom of yoke yoke depth

neck depth + yoke depth = armhole depth

To make well-fitting top-down sweaters, be sure that the yoke is long enough to allow your arms to move freely, yet not so deep that it bulks up at the underarm. C h A P T e R 1 : T h e TO P - D OW N C R O C h e T m e T h O D

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from the outside edge of your shoulder to your armpit, you’ll likely find a distance of somewhere between 6 and 9 inches. We call this armhole depth. This number is the starting point for calculating the best armhole depth for your body, to which we generally add another inch or two for ease of movement. The actual armhole depth of a garment — where the bottom of the armhole will fall on the body — is determined by two factors: the length of the yoke, and the depth added by the neckline. Neckline depth can add anywhere from 1 to 3 inches to the armhole depth. So remember, yoke depth is always a bit smaller than full armhole depth. When you finish the yoke, you will connect the two body sections — front and back — before working the rest of the torso on the sweater. That connection is usually made with a few chain stitches, which become the bottom of the armhole. (For photo, see page 25.) We’ll have more to say about these underarm chains shortly.

Two Yoke Methods RAGLAN STYLE. When creating a garment in

raglan style, even though it will be worked all in one

Raglan

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piece, the yoke is planned as four separate sections: front, back, and two sleeves. As we proceed from the neck down, we build these four sections of the sweater based on stitch counts for each section. The total stitch count for any row of the yoke is the sum of the counts for the four individual sections. To help you stay on track as you work, we give stitch counts for each section of the sweater as well as the total count for every row of the yoke. We use markers to show where the edges of each piece are, and we always increase at or near the marker. Placing increases at the same point in each round creates four distinct points at the bottom of the yoke that define the front, back, and two sleeves. CIRCULAR STYLE. To create a garment in the circular style, we increase stitches evenly all around the yoke, rather than at four points as on a raglan. That means there are no distinct sections while working the yoke, and the bottom edge is a smooth curve, with no corners.

To give you a window into how this type of garment works, let’s look at how a designer might plot out a circular yoke: First, we establish the number of stitches required at the bottom of the yoke, based on

Circular

RAGLAN

CIRCULAR

target measurements for bust circumference and two sleeves. After subtracting from this stitch count the number of stitches at the neck, we know how many stitches need to be added during yoke shaping. Now we have to decide how to distribute the increases gradually. Based on the number of rows to be worked in the yoke — which is different depending on the size — we determine how many stitches must be added in each round so that the desired stitch count is achieved at the end of the yoke.

round before, as you often do when making a hat. When making hats, the increases pile up one on top of the other, resulting in distinct points instead of a smooth curve at the edge. To avoid this, the circular garments have a few extra stitches at the ends of rounds, causing the increases to spread more randomly and resulting in a real curve at the bottom of the yoke. So don’t be tempted to “correct” the pattern and line up your increases. Remember, this is not a mistake, but an intentional part of the design.

The circular sweaters in this book are Ava/Bettina, Luna/Janelle, and Genevieve/Zora. In my version of the circular method, we increase on nearly every round, usually by the same number of stitches. You will see in the patterns how this plays out: generally, we have one more stitch between increases than the

Markers are not needed for circular-style yokes, except when beginning the body. Instead, you count stitches as you work each round, placing increases at regular intervals. This method insures that fabric is being added evenly all around the sweater. At the bottom of the yoke, you will count out and mark off the number

Going in Circles Circular shaping is something you’ve already encountered if you’ve ever made a crochet hat or round potholder starting at the center. Unlike these round items you may have made, in this case it’s okay that the circle does not lie flat; it shouldn’t, because our bodies are shaped less like pancakes and more like tubes that increase gradually. What’s particularly nice about the circular method is that once you’ve completed the yoke, you’ll have more choices about how many stitches to devote to the body and sleeves than in raglan shaping.

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LUNA

JANELLE

of stitches for front, back, and each sleeve and then connect them in the same way we do in raglan style.

Cardigans versus Pullovers Before going further in our description of the top-down method, let’s look at the difference between making pullovers and cardigans or jackets. It’s a simple one — on a pullover, you can work the entire sweater in the round, but for a cardigan or jacket, you must work in rows, so that there is an opening at the front. When working in the round in crochet, we usually have the right side facing us at all times. When working garments in the round, however, I advise turning at the ends of each round. If you don’t turn, there is likely to be bias — that is a slant — in the fabric, with stitches pulling to the right or left, creating a garment that is not symmetrical. The exceptions in this collection are Isabel and Rosina, where the multidirectional stitches counter the bias. There is one more important difference between pullovers and cardigans, and it relates to where you begin and end rounds. Naturally, for a top with an opening at the center, you will begin at one front edge and work around to the opposite front edge. With a pullover, where a slip-stitch “seam” can be visible, it’s preferable to begin and end rounds in a less obvious place than front and center. The simplest way, for purposes of pattern writing and keeping track of stitch counts, is to start rounds at the center back. In some cases there is a decorative element in the center, as in Jade and Genevieve. To avoid disrupting that element, we start near the center back, but not at the exact center. Four of the sweater pairs offered in this book have one version as a pullover and the other a

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cardigan. In fact, any of the pullovers can be converted into cardigans by simply dividing the front section into two halves. See Converting a Pullover to a Cardigan (page 54) for more details on how.

B U IL D I N G N e C K LINeS It’s amazing how many different looks can be achieved by changing the dimensions of a garment’s neckline by a just few inches. For example, a closefitting neck that’s practical for cold weather can be changed to a more open and relaxed neckline, a very flattering style on many body types. So far we’ve discussed beginning sweaters at the neckline with one long chain for front and back. This is the simplest way and one that is quite versatile. But to achieve all the possibilities, we need additional options. With the basic method, the front and back of the garment are worked the same, and the depth of the neck is the same all around. The limitation of this method is that it’s hard to achieve a neckline that’s close fitting, yet large enough to take on and off easily. For that to happen, we need a neckline that’s not too

wide, but with more depth at the front than the back. That shape allows room for the head to slip in, while still hugging the back of the neck. We achieve this by building the front neckline gradually: instead of the initial chain going around the entire neck, it begins at the front of one sleeve, goes all around the back and second sleeve, and ends at the front of the second sleeve. As you work the next few rows, increasing for the yoke as necessary, you will also increase at the front edges of the work, gradually bringing them together. When the neckline has sufficient depth to accommodate the head — just a few inches — you will join the two front edges together. This joining process begins with chains that are added across the front. On a pullover, the added chains will extend across the front, and on a cardigan, each front piece will have added chains that meet at the center. It’s important that the stitch counts, and therefore the width, of the front match exactly those of the back. You will see this put into practice in Janelle and Chloe. Take note: this is a place to count stitches carefully, and also to try on the garment to be sure the neck depth works well for you before continuing.

B U I L D ING THE NECKLINE

raglan points (begin and end of first row) added chains

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Always pay close attention to where markers should be placed. Counting Stitches and Placing Markers By now you’ve surely noticed a recurring theme: the importance of counting stitches. For any garment you make, getting the correct stitch count is key to achieving the desired fit. An important tool to help you count stitches when making raglan yokes is the stitch marker. You can use any type you like: plastic, metal, a safety pin, or just a short length of yarn in contrasting color. In most cases you’ll need only four markers. The markers help you keep track of where the increases will be made in each round, and, since they are placed at the edges of the four sections — front, back, and two sleeves — they make it easy to count the stitches in each part. Always pay close attention to where markers should be placed. Sometimes you will need markers in every row of the yoke, and sometimes you won’t. When a pattern says to move the markers up one row, it means they should be placed in the stitch directly

ROSINA

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PA R T 1 : T h e T e C h N I q U e S

above the marked stitch; this is sometimes done even when there is no increase in a row, so that the markers stay in the right place and are ready for the next time an increase is needed.

Shaping in Lacy Designs In the lacy or openwork designs such as Isola, Chloe, Rosina, and Isabel, instead of counting individual stitches you’ll be counting the number of pattern repetitions, as defined in the instructions. The stitch diagrams in these patterns will help you see exactly where the pattern repeat begins and ends. The increases will involve a whole or partial pattern repeat, consisting of several stitches. The number of pattern repeats is given for every row or round where there is an increase or decrease. To help guide you through yoke making on the lacy tops, let’s talk about the concept of increasing in pattern. When working with plain stitches, using one stitch over and over, it’s very simple to increase by

CHLOE

working two or more stitches into one, something every crocheter has probably encountered. But once we get into more complex stitch patterns, increasing has to be more ingenious, to avoid breaking up the stitch pattern in an obvious, visible way. That’s what we mean by increasing in pattern. Further, large stitch patterns can’t be added all at once, as the garment will grow too quickly — they need to be added gradually. The technique I use is to add part of the stitch pattern at the increase point. For example, look at the diagram for Peacock Fan increases at the right. You’ll see how the large fan is built up little by little over several rounds. Throughout the book, we have diagrams that spell out how increases are made. They are also spelled out in the Abbreviations section of the patterns and labeled as first increase (Inc1), second increase (Inc2), third increase (Inc3), and so on. For these lacy stitches, the placement of markers is a bit more complex, but have no fear, it is spelled out in each pattern. Since we are adding several stitches at each increase, it’s important to mark the stitch where the next increase will begin. Our instructions might say, for example: “Work Inc2 beginning at marker, place marker in dc just made.” What you do here is follow the exact instructions for Inc2 in the Abbreviations. Then, after working the last stitch of the increase (in this case a double crochet stitch) you move the marker from the previous row into that stitch. Keep in mind that you are turning at the ends of rows, so when a marker is placed in the last stitch of an increase, it will be the first stitch you come to when you begin the increase on the following row. The yoke grows rapidly with this method, since several stitches are being added at each increase point. The raglan points will not be as clearly defined, because the increase stitches are not being piled

6 5

Inc 3

4

Inc 2

3 2 1 Inc 1

Peacock Fan increases

one on top of the other, but spread out over several stitches. Because of this, you may be tempted to mark the wrong stitch, so be sure to pay attention to the instructions and diagrams on precise placement of markers. While most raglan increases are made at all four increase points of the garment, there are instances where we need to gain fabric on the body but not on the sleeves. This will involve marking the stitches where the increase begins and working a slightly modified version of the increase pattern — all spelled out in the relevant instructions, of course. Another thing to keep in mind is that when working with taller stitches, such as the double trebles used in Isabel/Rosina, or linked double trebles as in Luna/ Janelle, we increase more rapidly than when using shorter stitches. That’s because short stitches add just a fraction of an inch to the yoke depth on each row or round, but taller stitches may add an inch or more in each round, and therefore must grow more in circumference as well.

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Fixing Stitch Count Errors All of the designs in this book include stitch counts for each row or round of the sweater, and, in the raglan-style sweaters, we break them down into counts for the four sections — front, back, and two sleeves. If you get off in your count by just a bit — one or two stitches in any section — you can adjust in the following round. Just make sure to do it near to where the error was made. In other words, if you discover you are one stitch short on a sleeve, note where you missed a stitch by marking the spot. Then when you reach that point on the next round, add the missing stitch at or near the same point. If you are off by several stitches in any one section of a raglan-style garment, it’s wiser to pull out your work and correct it. That’s why it’s so important to count, count, count when working top-down sweaters! Circular style sweaters require you to count stitches as you work around, placing increases as instructed at regular intervals. Don’t worry if you get off a bit — increasing in the 16th rather than 17th stitch, for example. Do be sure, however, to count the entire round when it’s completed. If you find you’re off by a few stitches — but no more than 5 or 6 — you can compensate in the following round. Just be sure not to add all the stitches in the same area. Follow the instructions in the pattern, increasing at whatever rate is specified. But as you go around, put in an extra stitch as many times as needed to get back to the correct count: one on the front, one on the back, and if needed, one on each sleeve. If you have too many

stitches and must reduce, you can skip the increases specified as many times as necessary, but again, skip in each section of the sweater. If you are off by more than 5 or 6 stitches, it’s better to pull out your work back to where the stitch count is accurate.

TRyING ON T he yOKe AS yOU GO You’ll want to take advantage of the fact that topdown sweaters can be “tried on as you go,” to ensure you’re getting the fit you want. Try the yoke on as soon as you have enough fabric to get over your head — probably after 2 or 3 rows — so you can see whether you like the neckline. It’s much easier to make changes at the start of your work than later. Trust me, some of my sweaters were started multiple times before I was happy, so don’t rush at this stage. As you progress through your yoke, keep trying it on and measuring both your stitch and row gauges to maintain consistency. To try on a yoke that’s in progress, remember that the neckline must be carefully placed to really represent how it will fit when complete. Looking at a mirror, line up the bottom edge of the yoke so that it hits the same point on the front and back of your body. The tendency is to pull the front of the sweater down, and that’s how you’ll run into trouble. Eventually, when the yoke is done, you’ll join the back and front pieces at the same distance from your neck, so it’s important to keep the front and back level as you try the yoke

Quick and Drapey Two nice things about sweaters made with taller stitches are that they work up quickly and drape very nicely: since only the top and bottom of a treble is connected to its neighbor, the space between the posts of stitches lends drape to the fabric.

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T RY I N G ON THE YOKE IN PROGRESS

on. This way, you’ll get an accurate sense of how deep the neckline sits on you, and whether the circumference is sufficient to get around your shoulders and upper torso. The last time you try the yoke on, just before working the underarm stitches, is particularly crucial. At this point the yoke should extend to an inch or so below your armpit, more if the sweater has a deep armhole.

When you’re trying on your work in progress, keep in mind that the yoke has not yet been blocked; that process can make it grow up to 2 inches in any direction. In other words, what you’re trying on is a bit smaller than it will be once blocked, so if it seems just a bit less than what you had in mind, you’re right on target.

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C R e AT I N G T h e U ND e R A R m When you finish the yoke, you’ll find you are just short of the total measurements, including ease, that are needed for torso and upper arms — and that’s on purpose. As we get ready to work the body of the garment onto the yoke, we add underarm stitches, and these will bring us to the desired measurement.

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This is a tried-and-true method used in all kinds of sweater construction, and it provides fabric to wrap around the sides of the body. These stitches add just a small amount of extra fabric, between 1 and 3 inches on each side of the body, making this a great place to make any necessary adjustments if your sweater is a little off the target dimensions.

front of sweater underarm stitches

Before adding the underarm stitches, we mark off one last time the precise number of stitches for the front, back, and each sleeve of our garment. It’s particularly important to be accurate when placing markers at this point, or your stitch counts will be off for the rest of the garment, and the dimensions will be as well. Count carefully, and make sure the correct side of the work is facing you when counting — the instructions may not make sense if you aren’t looking at the correct side. In most of the garments, we will join yarn at one marked stitch, make a specified number of chains, and then slip stitch to the next marked stitch. Be attentive as to precisely where to join at the beginning of your chain and where to slip stitch at the end. I tried a few different strategies for making the underarm stitches and found that, unfortunately, each can create gaps in the fabric at the underarm. The method I used most often was the neatest: using a separate strand of yarn to make chains at the underarm, to be worked into on the following row or round. While this is the best way to eliminate gaps in the fabric, it has some drawbacks. First, it’s finicky to have all those extra ends to weave in; second, the slip stitch used to join at the end of the chain often pulls out and looks like an extra chain to work into. Here’s a strategy I used when that enlarged slip stitch drove me nuts: I joined yarn for the underarm chains and made the underarm chains, but instead of slip stitching to the next marked stitch, I fastened off the chains, leaving a tail. Then, after working into those chains on the first

row of the body. I placed the loose tail on a needle, and attached it to the marked stitch. It worked! If you want to try this, just be sure to start the chains at the first marker you will encounter as you work on the body, so that you don’t have to interrupt your stitching. Note that the chains can run in any direction, since they won’t be visible once worked into. One more thing to consider about the underarm chains is this: you will be working into those chains twice — first on the body, then on the sleeves. So the first time, instructions will tell you to work into the chain by picking up the back loop, leaving the front loop available for the sleeve. This way, when you return to the underarm to begin the sleeves, those chains now have body stitches worked into them. The front loop has not been worked, and is ready for you to work into it for the first round of the sleeve. Note that front and back in this case do not relate to the right and wrong sides of the garment, but only to what is facing you as you work — the front loop being the closer of the two, of course.

Adjusting for Fit at the Underarm Suppose that you have been diligent about measuring each round but find, at the end of your yoke, that the size is not exactly right for your body. You want to judge both the length of the yoke, which determines whether the armhole depth is comfortable and appropriate for your body, as well as the circumference around your bust and upper arms. The bottom of the yoke should be an inch or 2 below your underarm. If the armhole is too deep, you can eliminate some rows of the yoke, but you will have to make sure to reach the same number of stitches at the end of the yoke. If the armhole is too short, just work even for a few rows to get to the desired length. (See also Changing Armhole Depth, page 50.) Remember, too, that blocking can add an inch or two of fabric.

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There is one more consideration relevant to armhole depth, and that is whether you intend to tighten up the neckline. It's an easy thing to do, and we explain how thoroughly in Tightening the Neckline (page 54), but it’s a decision better made now than later. Tightening the neckline may draw up the yoke by as much as an inch and therefore affect armhole depth. If your neckline came out too big, you might want to work any finishing to tighten it before continuing, so you know precisely how deep the armhole of the finished garment will be. If the issue is not yoke depth but rather circumference, some adjustments can be made at the underarm, working additional underarm chains to enlarge it, or fewer to make it smaller. I don’t recommend eliminating the underarm stitches entirely, as that

will adversely affect the way the fabric shapes to the body. All these possible alterations of the yoke are covered in greater detail in Adjusting the Yoke (page 50). Sometimes it’s hard to really judge the fit at the point when you’ve completed the yoke. To get a more accurate sense of fit, I like to begin the body and work at least a round or two, then try it on again. This will show more clearly where the bottom of the armhole lies on your body. Even though some work might have to be pulled out, it’s worth a bit of extra effort to get the fit just right.

BeGINNING The BODy We use the term body to refer to the remaining portion of the torso that’s left after completing the yoke. It begins with the underarm chains we’ve been discussing and then proceeds with minor differences, depending on whether the garment is a pullover or cardigan. As mentioned earlier, the pullover sweaters in this book are worked in the round starting at the back of the garment, while the cardigans are worked flat, starting at the front. When beginning the body portion of a pullover, you’ll first work along the sweater’s back, then into the added chains at the underarm, then across the front, then into the second group of underarm chains, and then finish the remainder of the back, with a slip stitch closing the round. On a cardigan or jacket, you will begin on the front of the garment, then work into the underarm chains, then across the back, then into the second underarm, and then across the second half of the front. As you begin the first row of the body, make sure you understand the pattern’s instructions for working into underarm chains. Count stitches when you’ve Trying on sweater to assess length

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completed the first row of the body, to be sure you didn’t inadvertently add or skip stitches. Now, try the yoke on again, so you can get a better sense of the underarm and its depth. I should warn that this “fit moment” can be a bit deceiving in one respect: the armhole after only one body row is made tends to feel tight when you first try it on. Remember that it will drop down once you have more of the body worked. So if it seems a little snug, it’s probably fine. But if it’s way down below your underarm, this is a good time to shorten the yoke by removing rows. Once the yoke fits the way you like, the body is worked down to the desired length with or without shaping, depending on the style and fit of the garment. Many of the tops in this book are worked with little or no shaping, relying on the drape of the fabric to shape to the body. The longer garments do have shaping at the hips for comfortable wear and stylistic flair. You will find that we have not specified how many rows to work on the body for many of the garments. That’s because there is little relationship between body circumference and height, and we want to empower readers to determine what works best for them. People have different preferences on sweater length — some like sweaters that reach the high hip, some want to cover tummies and derrieres, and some may want both lengths for different pieces in their wardrobe. Making it work exactly as you want couldn’t be easier! Try on your garment when you think you’ve reached a good length and see. Then add more rows as needed to get to the length you wish, or take out a few if the garment is too long.

WORKING The SLeeVe Generally the body is completed before working on the sleeves, although there’s no reason it has to be done that way. The first row of each sleeve is “picked up” from — that is, worked into — the stitches that were skipped when making the underarm chains. That’s how we bind the pieces of our sweater together seamlessly. Those un-worked sections of the yoke are actually the sleeve cap — the term used to describe the uppermost section of the sleeve that covers the shoulder. The sleeve cap ends somewhere on the upper arm at the bicep, and it’s important that the cap is the correct dimension for your bicep plus ease, so remember to check your personal schematic (see Measuring Yourself, page 43). This is true for both circular and raglan styling. When you start the sleeves, the underarm chains have body stitches worked into their back loops. The unworked loops of these underarm chains now become the base chains for the sleeves. You will be inserting your hook into the unworked (front) loop of those underarm chains. Note that this first round of the sleeves can be tricky, because the stitches are upside down from what you are seeing on the body. As usual, counting stitches is important as you begin the sleeve. A discrepancy of 2 or 3 stitches can safely be corrected in the following round. In this book, sleeves are often worked even (with no shaping) when they aren’t full length, and shaped to the arm if they are longer. If you want to lengthen the shorter sleeves, it’s probably wise to shape them as well, so that they narrow as they approach the wrist. Once the body and sleeves are done, the only task left to do is any finishing that’s needed. Finishing is covered in our next chapter, along with many other important techniques you’ll want to review before embarking on the patterns.

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CHA PTER 2

Additional Techniques for Top-Down Garments

There are many details to consider when working a one-piece garment. Please don’t let this scare you; it’s just part of the skill set that will ensure you have a good experience with this technique. Since making a garment is a considerable investment of time, energy, and funds, it’s wise to prepare yourself ahead of time by studying the strategies you’ll need as you go through the various stages of the project. In this chapter we discuss stitch mastery, the ins and outs of gauge, choosing the best yarns and fibers, and three methods of blocking your work once it’s done.

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m AS T e R I N G S T I T C heS While most of the stitches in this book are not difficult, there are bound to be some you aren’t familiar with. The introductions and notes to each design include pointers that can improve how your stitches look, as well as your ease in making them. These tips arise from my personal efforts with hook and yarn, in the never-ending pursuit of beautiful stitching. Instead of trying to master a stitch while making a garment, I wholeheartedly advise taking the time to do a practice swatch, preferably with the yarn you intend to use for the garment. I’m making a distinction here between a practice swatch and a gauge swatch. Particularly when trying something new, it’s wiser to learn the stitches first, get comfortable with them, and then concern yourself with meeting gauge.

Crossed trebles from Erde

Some of the more advanced stitches you’ll find in this book are the crossed trebles used in Nanette and Erde, and the Peacock Fans, made with double treble stitches, in Rosina and Isabel. Luna and Janelle are made with a rather unfamiliar stitch, the linked double treble, which has a curious resemblance to Tunisian crochet. That gives us six garments based on tall stitches, a choice I made because they lend great drape to garments. As an added bonus, they also work up quickly.

Linked double treble from Luna

How to Practice There are several things to focus on when working your practice swatch: understanding the instructions and diagrams, making even stitches, how the yarn you’ve chosen looks with the stitch, and finally, whether your tension matches the gauge — but as I said, let that last goal come after some practice.

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GAU G e A N D D R A Pe The dimensions for every garment in this book were calculated based on the gauge of that pattern. It’s this simple: if you want the sweater to fit, your gauge needs to be accurate. There’s more to good fit than gauge, but this is the starting point. We give separate instructions for a gauge swatch for each sweater in this book. Some people think they can change gauge to alter the fit of a pattern — and that is true to a point. If you work to a smaller gauge than what the pattern specifies, your garment will certainly come out smaller. However, it will be smaller everywhere — at the neckline, the bust, the sleeve, and all length measurements. This is why I strongly advocate developing the skills that allow you to adjust your tension so that meeting gauge is not a problem. There are advanced crocheters who can make lovely, even, neat stitches, no matter how complex the pattern, but who have never paid much attention to gauge. Someone who devotes lots of time to thread crochet is likely to prefer neat, tight stitches, which makes perfect sense for doilies — but not for sweaters. Similarly, someone who loves to make afghans may have advanced stitching skills but be less experienced with meeting gauge precisely. For garment making, however, it’s an important skill that can definitely be mastered given some time and care. Gauge determines not only measurements but also the character of the fabric. Crocheters don’t always give sufficient attention to this matter, yet it’s crucial for making a sweater that looks and feels great to wear and that will last. Tight, dense stitches create heavy, dense fabric that will, over time, pull the sweater out of shape, dragging it down and making everything longer than it’s meant to be. Looser gauge will give your garment far better drape.

What if your gauge is off? Changing the size of the hook is one way to change gauge, but there are other strategies for regulating tension. TO WORK MORE LOOSELY. Don’t grip your

hook tightly, don’t wrap the yarn tightly around your fingers, and don’t tug on stitches after making them. Consciously relax all your movements when working. Draw out the loops of stitches and leave that rather floppy looking stitch on the hook without tugging it tighter. It may not look as neat as you like, but remind yourself how happy you’ll be with the drape of the fabric! In other words, challenge yourself to make larger stitches than what you do naturally. TO WORK MORE TIGHTLY. If you have the

opposite problem and crochet very loosely, try holding your hands closer to the work. If that doesn’t solve the problem, the issue probably begins with your yarn-holding hand, the one responsible for feeding the yarn from the ball to your dominant hand. Very loose crocheters often hold the yarn in such a way that they have insufficient control of tension in the yarn. I know it’s daunting to revise your hold, but it is worth it so that you can crochet with better control. Try the technique of wrapping the yarn around the extended index finger, then around the pinky. Get together with a crochet instructor or take a look at some online videos showing how people hold their tools and see if you can mimic them. An adaptation like this may take some hours of practice before it feels comfortable, but it’s well worth trying to improve your tension control.

It’s this simple: if you want the sweater to fit, your gauge needs to be accurate.

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Measuring Gauge as You Work

After inserting the hook in a stitch, draw up loops to a taller height than you are used to.

TO MEET ROW GAUGE. Suppose you have no trouble with stitch gauge, but find yourself short on row gauge. There is a simple fix for this problem: after inserting your hook in the top of the stitch and drawing up a loop, pull up that loop to a taller height than is usual for you. This is the way to lengthen your stitch, and it works for single, half double, double, and treble crochet stitches. If you consistently have problems meeting row gauge but not stitch gauge, this is the cure. And guess what? Taller stitches give a garment better drape, so you’ll be glad you learned this maneuver.

Of course, a pattern’s gauge has to work with the yarn you’ve selected. If you get gauge but the stitch is not looking attractive, it may not be the right yarn for the project. Choosing yarns for these garments is a topic we’ll look into shortly.

Most crocheters know the typical method for measuring gauge. A ruler is placed along the stitches, and we find a convenient point where a certain number of stitches measures a certain number of inches; the same process is used to determine row gauge, with the ruler placed on the vertical axis of the sample. If done on a fairly sizable swatch (not smaller than 6 × 6 inches), this is a good method, but it’s not the whole story. Gauge can be elusive, even when we measure our swatch carefully. Why is that? Lots of reasons! As we get more familiar with a stitch and gain speed or comfort, our work can tighten or loosen. Even our mood can affect gauge, and so can the lighting in the room in which we’re working. So, what to do? Make sure you don’t let changing gauge get out of hand. There is a simple way to check: measure gauge as you work. Don’t rely on your eyes, as changes in gauge can be quite subtle. Avoid measuring the increase stitches that you are making on the yoke, however, because when you are working many increases, the stitches will squish together and will measure smaller than gauge. Once the sweater is blocked and worn, these stitches will open up. But when you’re working on a project, measure gauge elsewhere in the fabric. Another tip: use a hard ruler when measuring gauge. It’s more reliable than a tape measure. The latter has a place in our tool kit as well, but where possible, use a ruler to measure gauge.

Mastering Stitch Tension Several of the garments in this book use stitches that are excellent challenges for those working on controlling tension, specifically these pairs: Luna/Janelle, Isabel/Rosina, and Nanette/Erde. These designs involve tall stitches that require good control. Try any of the gauge swatches for these patterns as an exercise in practicing your hook and hand coordination. They’re all beautiful stitches you may want to use in other projects in the future.

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B L O C K I N G yO U R S WAT C h It’s important to make a distinction between pre-blocking and post-blocking gauge. The gauge given for each pattern in this book is the gauge after blocking. Designers use post-blocking gauge to write a pattern with the dimensions shown in the schematic. For your garment to have the dimensions for your size, you work to a slightly smaller gauge, then block the work when you’re done and pin it to the correct measurements. That’s true most of the time, but not always. The swatch you make at the start of any project (but haven’t yet blocked) can measure a little under gauge. For example, you may have 10 stitches for 2 inches, where the pattern’s gauge states 9 stitches for 2 inches (9 sts = 2"). That amount of difference — where 1 stitch represents a tiny fraction of an inch — can usually be adjusted with blocking. It’s hard to be more specific than that, because so much depends on the yarn and fiber. Blocking your swatch before starting your garment is really the only way to be sure you will be able to meet gauge. Some yarns and fibers, particularly natural fibers, will open up beautifully and can then be pinned with great precision to exactly the dimensions you need. With these fibers, you can have a swatch that is, for example, 1/2 inch less in either width or length, or both, as it’s likely to gain that amount when wet blocked. By testing the swatch you can see if it does in fact block out to gauge. Do remember — and this is important — to measure and record the gauge of your swatch before it is blocked. That is the gauge you will match while you are working on your project. Then, when blocking your finished piece, pin it precisely to the dimensions shown in the schematic.

There are times when a garment should not go into water because of concerns about delicate fibers or a tendency to stretch, just as certain store-bought items always go to the dry cleaners instead of the wash. In these cases, plan to steam block the garment, which changes the dimensions very little, or don't do any blocking at all. In the first case, the swatch should be steam blocked to see if it changes gauge. In the second, work to the finished gauge on your swatch. The point I want to convey is that it’s wise to think about the method of blocking when considering gauge and before embarking on your project.

Know Your Fiber before Blocking Natural fibers all respond to wet blocking, though in varying degrees, and even synthetic fibers such as acrylic may stretch with blocking, although not as much. Because many yarns are a mix of natural and synthetics, blocking can be done quite precisely. Some acrylics do not respond to blocking, or they may only give you a bit of stretch in any direction even when wet and pinned. In these cases, it’s important to work to finished gauge in your swatch and throughout, to have the right dimensions in your garment. You can still wet block your garment to gain some of the other advantages of blocking, such as evening out stitches, but you won’t be able to change the dimensions all that much. Then there are fibers — such as alpaca and cotton — that may stretch a lot when worn, and you may even see some stretch as you work with them. In these cases, consider working a little under finished gauge and refrain from wet blocking the garment. The garment is likely to get to the finished dimensions with a little wear. To wet block your swatch, immerse it in water, squeeze out any excess, then lay it flat. Pin it to the

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blocking board precisely to the dimensions given in gauge. If you plan to steam block your finished garment — a good choice for delicate fibers — do steam block your swatch to see how much fabric that process adds, if any. We will address blocking in greater detail in Blocking Your Garment (page 37), but for the moment, keep in mind that the gauge in the pattern is the one you get after blocking.

ChOOSING yARNS It’s not always possible to use the same yarn as the one in the model, as we all know, but substituting one yarn for another is more complicated than just matching the weight. In fact, even matching yarn weights isn’t simple, because weight categories are not strictly standardized, and one DK or fingeringweight yarn may be substantially different in thickness from another. In this book, you’ll find life-sized photos of the actual yarns used to help you make comparisons with the yarn you’re considering for a design. Please resist the temptation to use a different weight yarn and then work it to the pattern’s gauge, as the fabric will look and behave in a completely different manner than intended. Use the same weight yarn, and if possible, one with similar fibers as well. If the fibers aren’t exactly the same, think about choosing fibers that will behave in a similar way with regard to fluidity and drape. We give details about each yarn used and how to select substitutes for each pattern.

Selecting Fiber Content First and foremost after yarn weight is the fiber content, whether cotton, wool, or any other fiber typically found in yarn. Each has its own characteristics that can enhance or detract from your garment. Fiber content is crucial to that much desired quality of drape. The fabulous fibers used in yarns of today give us the opportunity to make garments just as lovely as those that are knit, but we have to know our fibers and yarns to do so.

Swatch before and during blocking

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Certain fibers are especially prized for their fluidity, including alpaca and silk. Yarns made with these fibers can be more expensive but are usually available at a range of price points. Wools and cottons tend to be stiffer, but a Merino wool is much softer and more flexible than generic wools. Cottons, too, come in different degrees of softness and drape, with pima and Egyptian cotton being especially bred for these

desirable qualities. For both warmth and drape, I recommend mohair, which does not necessarily have to be itchy; the best quality, kid mohair, is soft and not scratchy on the skin. Cashmere is also fabulous, if you can splurge. Acrylic yarns are less expensive, but here, too, there is quite a difference in quality and correspondingly in drape and comfort. For example, in this book the sweater Bettina is made with 80 percent acrylic yarn that drapes very nicely. Blended yarns, where two or three fibers are mixed, are a great choice for budget-conscious crafters. You’ll find great wool/acrylic blends, as well as blends that include alpaca, silk, and other fancy fibers. The label will tell you what percentage of each fiber was used in the yarn, and you want at least 25 percent (preferably more) to really get the effect of any particular fiber in your finished project.

Plies and Spin The texture of a yarn is determined in large part by how it is spun. Most commercial yarns are spun at huge mills, where single strands of yarn, called singles, are twisted together. Sometimes only two or three strands are twisted to make a yarn — the first is called a 2-ply yarn, and the second a 3-ply yarn. The plies may be quite visible on the yarn’s surface. Some yarns are made with multiple plies of very thin strands that meld more smoothly together and are less apparent. Yarns that are not plied at all are called single-ply yarns, and they are very attractive in crochet. Singleply yarns yield stitches that are very clear and distinct, but the fabric is less hardy than one crocheted with plied yarns. When plies are very visible, as is often the case with 2-ply yarns, they can add unwanted complexity to the surface of the project. So, where individual stitches need to be really clean and clear, for example in complex lace work, it’s best to find a yarn with a relatively smooth surface. Smooth yarns give strong stitch definition, meaning your stitch patterns will be bold and clear.

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JADE

MAGDA

ISABEL

ROSINA

In these examples, compare the very smooth yarns used in Jade and Isabel with the fuzzier yarns used for their partners, Magda and Rosina. The different effects are clear.

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With fuzzy or textured yarns, like those used in Zora and Genevieve, there’s less emphasis on individual stitches and an overall softer look. Such yarns fill in the holes between stitches, making these sweaters warmer and more solid than those made with smooth yarn.

Spin Matters, Too Another thing to notice when selecting your yarn is how tightly twisted it is. You can tell this by seeing how the plies line up along the strand — the more perpendicular to the strand of yarn, the more tightly twisted. The degree of twist is significant to the resulting drape of your garment; tightly twisted yarns are less flexible than loosely twisted yarns. So if you’re working with less drapey fibers, such as cotton or a generic wool, it’s best to avoid a yarn that’s tightly twisted. When considering which yarns to choose for garments, think about how all the factors we’ve been discussing — weight, fiber, plies, and twist — interact. One characteristic can balance another, and you want to try as much as possible to aim for drape, softness, and flexibility in the fabric.

BLOCKING yOUR GARmeNT This phase of garment making is quite crucial for getting the fit you want. Blocking has several purposes: it evens out stitches, softens fabric, flattens unwanted bumps, and makes the work larger, if desired. Openwork stitches — anything lace — really benefits from blocking to stretch out the fabric just enough so that the stitch pattern pops. The fibers in the garment are an important factor in how you choose to block it. Some fibers, particularly alpaca and cotton, are stretchier or more fragile than others, and I always use caution when fully immersing them in water. They can become heavy and unwieldy because they absorb so much water and can stretch out of shape. For these fibers, as well as luxury fibers like cashmere, I choose a less-aggressive blocking method, either spritzing or steaming. Any garments made from those fibers I spot clean and eventually send to the cleaners. Here’s how to proceed with the three basic choices for blocking: a full wet blocking, a light spritz blocking, or steam blocking. Whichever of these methods you choose, try it first with a swatch.

Examples of loosely twisted yarn (above) and tightly twisted yarn (below)

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Wet Blocking If you plan to wash your garment to clean it, wet blocking should be done so you know what will happen when your garment gets wet. You begin by blocking your swatch, of course, but be aware that a full garment that’s wet can behave differently than a small swatch does. To fully wet block your work, it’s not necessary to soak the garment. I prefer to immerse it quickly in water, then pull it right out to avoid making the fabric too heavy. If you do soak your garment, squeeze out excess moisture before placing it on the blocking board. Place the garment on a blocking board and then pull it out to the precise dimensions you want. Check the schematic carefully for the number of inches for your size on each crucial sizing area: neck width, bust and sleeve width, yoke depth, body length, and sleeve length. Since we have a one-piece garment, it must be carefully pinned through both sides, front and back. Before pinning, make sure the two sides match symmetrically by carefully lining up the front and back, top and bottom. If you are stretching the fabric a lot, use many pins; you want to avoid the fabric shrinking around the pin and making points. Make sure you stretch equally throughout the fabric, not just at the edges. Be prepared for the fact that this will take a while to dry. I often flip the sweater over even before the first side is totally dry, to expose the second side to air.

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If your sweater is too large to fit on your blocking board, it’s perfectly fine to block it in sections, for example, first blocking the yoke and then the body, or saving the sleeves for a separate blocking. After wet blocking and pinning, you may find there are some unwanted folds in the fabric, since it was folded in half on the board. These can be eliminated with steaming, as explained below.

Spritzing To do a lighter blocking, rather than fully saturating the fabric, dampen it by spritzing with water. Then follow the same procedure for pinning. Most natural fibers, including any sort of wool, will respond very nicely to this method and will stretch enough to allow you to pin to your dimensions. Some acrylics will also respond well, while others resist stretch. There’s no way to know until you try.

Steam Blocking Steam blocking is an excellent method for garments you don’t want to immerse in water. It can have a lovely softening effect on certain acrylics and is well worth a try if your fabric is stiff and unyielding. It is also very useful for flattening curly edges, which can be problematic in crochet. When steam blocking, there’s no need to pin the garment on a board. Just lay it out flat and hold the steaming iron very close to the work and keep it there for a few seconds, then move to a different spot. You can pat the fabric with your hands while it’s hot to further flatten any curly edges or lumpy spots. In this way you can steam the entire garment or only the areas that need flattening or smoothing.

Sweater on blocking board, pinned to match measurements of schematic

Sneak Preview Try to get to know a yarn before you purchase all the skeins for the sweater. No matter how expert you are, you just can’t know how a yarn will behave until you try it with the stitch in question, and at the gauge given.

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CHA PTER 3

Making Your Garment Fit

The sweaters in this book have different silhouettes, some meant to be close fitting, others more loose and flowing. We’ve aimed to make the style and fit apparent in the photos. By adjusting the amount of ease in a sweater, however, you can also vary the silhouette significantly. When planning these garments, I began with target measurements for each size. Sometimes my projected numbers had to be modified because of the number of stitches in a pattern repeat, or some other design elements. As you browse through the schematics in the book, you’ll get a sense of how I tend to size garments and the dimensions I aim for at crucial points like bust and bicep circumferences and armhole depth. Understanding how to read the schematic and compare it to your own target measurements will enable you to pick the size most suitable to your body. Achieving a good fit is one of the most problematic areas for crocheters, and yet the solutions are straightforward. Strangely, I’ve found that some folks are reluctant to take the steps necessary to achieve it, even after they’ve had failed attempts. Please let me assure you, measuring yourself and your sweaters — two things that will help tremendously — is not difficult, and I will guide you through the steps.

Please don’t give up if your first garment isn’t perfect! Failure is an excellent learning tool. Analyze your results; what went wrong? Were your target measurements — the number of inches you aimed for at the bust, for example — not quite accurate?

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Or did you go off gauge and therefore not get the measurement you wanted? Perhaps the yarn was not the best choice, obscuring the stitch pattern or making the fabric too heavy? Now you know what to do better next time. Attitude is really important, too. As I said, trust that you can do basic measuring. Then trust your gauge (by checking repeatedly!), and then trust me, the designer! You have to make some decisions about ease, but since you choose your clothing all the time when you’re shopping, you’re already experienced with this.

AL L A B O U T e A S e Let’s first look at your wardrobe and how your tops fit. Do you like tight and sexy, or loose and comfortable? Or perhaps, if you’re like me, you have both kinds of garments in your closet. We use the term ease for the extra fabric added to the actual dimension of your body. For example, if your bust measures exactly 34 inches, and your sweater is exactly that circumference at the bust, it will fit snugly with no ease. Of course, crochet fabric is very stretchy, so even the bust of a crocheted sweater measuring 33 inches should still fit quite nicely if you like a snug fit. When a sweater is a bit smaller than your actual measurement, we call that negative ease. I would not recommend more than 1 inch of negative ease when planning your garments, as more than that may stretch out individual stitches unattractively. If, on the other hand, you prefer loose, flowing garments, you will want about 2 to 4 inches of ease in your sweater; a 44-inch bust with 4 inches of ease will measure

48 inches in circumference when the sweater is completed and blocked. Getting back to your wardrobe, put on a few different tops and see if there is a lot of variation in the amount of ease, or if you tend to go for the same type of fit repeatedly. The next step is to determine just how much ease you prefer — are we talking about an inch or two, or several inches more? Do you like different amounts of ease at the bust than at the sleeve? Remember, ease is the extra fabric added above actual body dimensions, so you won’t know the exact amount of ease until you establish exactly what your body dimensions are. Before we can determine ease, we have to know what your actual body measurements are. We’ll do that with a tape measure next. Then we’ll measure your favorite sweaters to figure out your ease preferences.

meASURING yOURSeLf You want to measure those areas of your body that correspond to what you will see on the schematic for a garment. To get accurate measurements, take them with a tape measure, preferably held by someone else while you are wearing little or very light clothing. (If you’re making a sweater for someone else, you can take these measurements on that person.) Don’t pull the tape measure tightly around any part you’re measuring, nor let it hang loosely. The image on the next page shows just where to place the tape. While some patterns will not require all the measurements listed, it’s a good idea to gather each one for future projects.

Expect Stretch Keep in mind that almost all crocheted garments will stretch somewhat with wear. Please don’t ask me to say how much, because it varies greatly depending on the fibers in the yarn, but some stretch is inevitable.

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Width measurements should be taken at the largest point in the area you are measuring. In other words, measure your bust, hips, and bicep where they are largest, to be sure you have sufficient fabric in any garment you make. The first length measurement to determine is armhole depth, measured as shown. On a garment, this measurement will have about 2 inches of ease added, so that the armhole has sufficient room for comfortable movement. Your actual measurement from shoulder

to armpit will likely be between 6 and 9 inches; adding 2 more inches to that yields the target armhole depth to look for in a schematic. We will also check this on your favorite-fitting sweaters, to be sure. On the schematics for each sweater, you will see a center line showing neck depth and yoke depth, which, when added together, give you the sweater’s armhole depth. For the remaining length measurements, begin at the point 2 inches below your underarm. These measurements will help you determine just where you want the bottom of a garment to fall.

M E A S UREMENTS YOU’LL NEED Once you have all the measurements shown in the left photo, write them in on your personal schematic on the next page. Make a note that these are actual body measurements. Once we’ve figured out how much ease you like (which we are about to do), add that information to the schematic as well. This will give you a template to compare to every schematic in the book, as you decide which size to make and changes you might want to consider. This is the key to the great fit we’ve been discussing throughout this section, so please don’t skip these steps.

5 4 1

9 5

6

10

7 4

1

8

2

9 6 7 8

3

10

Measurements

2

1 ________ 2 ________ 3 ________

3

4 ________ 5 ________ 6 ________

7 ________ 8 ________ 9 ________ 10 ________

Measurements

1 Bust 2 High hip 3 Full hip

4 Bicep 5 Armhole depth 6 Length from underarm to waist at narrowest point

7 Length from underarm to high hip

8 Length from underarm to widest part of hips

9 Length from underarm to elbow

10 Length from underarm to wrist

m eA S U R I N G A fAVORITe SWeATeR You’ll get the most useful numbers if you measure knitwear, not woven fabric, which behaves quite differently. Using a ruler, measure as shown in the accompanying illustration: for bust circumference, lay the ruler flat across the sweater just under the armhole; for bicep circumference, place it across the sleeve just under the armhole; for armhole depth, measure straight down from the shoulder to the armpit. Any length measurements for the body should be measured from the armpit straight down to the bottom of the garment. Now compare the figures obtained from measuring your sweaters to your actual body measurements. You may find that your 40-inch bust looks best when your sweater measures 42 inches, which means you like 2 inches of ease. Or you may gravitate toward tops with no ease, or some with several inches of ease. You may like the look of a sleeve that measures only 1 inch larger than your actual bicep circumference, or prefer a roomier sleeve with 3 inches of ease. Do measure a few different tops, so that you get a sense of the range of ease you like at bust, sleeve, and hip. Now that you have a good idea of how much ease you like at bust and bicep, write this information down on your personal schematic. You may have a range of numbers for ease: for example, “0–3 inches over actual bust circumference.”

For example, the person who has a 40-inch bust can probably select a bust size that measures from 39 inches for a fitted look to 45 inches for a very relaxed, flowing style. In chapter 1 we explained the relationship between yoke depth and armhole depth, and the difference between the two. Yoke depth refers to the actual measurement of the yoke, from the first row to the last. Armhole depth will be more than that, because the neckline adds depth to your armhole, as you can see in the image on page 15. Be sure to add the two and match the sum to your target armhole depths. You will also want to notice the lengths of your favorite garments — of course, they needn’t all be the same. Sometimes you want to wear a top with a skirt or slacks, other times over leggings, so aim to determine the measurement for both kinds of tops. Measure one of your favorite sweaters, from the bottom of the armhole to the hem. You’ll use this information as you tackle the patterns, which can all be easily adapted to different lengths.

armhole depth bust

If a sweater is too tight at the armhole, it will be uncomfortable, while a too-loose armhole can look baggy. This is why it’s important to take good measurements of a few sweaters to determine whether your preferred armhole depth is, for example, between 7 and 9 inches, or 8 and 10 inches. This is an important measurement to consider when selecting your size.

bicep

body length

At the end of this exercise, you want to end up with a range of numbers for all the crucial sizing points.

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hOW TO R e A D A SC hemATIC Once your body and sweater measurements are complete, and you’ve crammed as much useful information onto your schematic as possible, you’re ready to compare your figures to what you see on the schematics in this book. Study the schematic below and what each number means.

bring increasing knowledge to the task and be able to adapt patterns more freely. It’s going to be a great adventure! Note that armhole depth is the sum of the neck and yoke depths. In this schematic, neck depth is 1 inch and yoke depth ranges from 7¼ to 9 inches, so you must add 1 inch to the yoke depths to determine the armhole depth.

Start with those garments where the measurements match well with your numbers — remember, the crucial ones are bust circumference, bicep, and armhole depth. Hopefully you have a range of numbers for these measurements, and if so, you should find several sweaters that work. As time goes on and you become an experienced garment maker, you’ll

You will see additional length measurements on some of the other schematics. These may include the length from the underarm to the waist, or from the underarm to the bottom of the body.

21˝

1 1˝ 5

3 14 (15, 16½, 16½, 19)˝ 7¼ (7¼, 8, 8, 9)˝ 6

2 38 (43, 47, 52, 56)˝

4

16¾

(16

¾,

17¼

7 8 (8, 9, 9½, 11)˝

circumference

2 Bust circumference

46

½,

17½

)˝

Length Measurements

Width Measurements

1 Neckline

, 17

3 Bicep circumference 4 Wrist circumference

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5 Neck depth 6 Yoke depth

7 Sleeve length from underarm

hOW S W e AT e R S fIT yOUR BODy All the measuring you’ve done will definitely pay off, as you now know a lot more about the dimensions that will result in the look and feel you like in a garment. In this book, we offer garments with simple, clean lines that can work with only 1 inch of ease at the bust, or up to 4 inches of ease, or with no ease, or a bit of negative ease. It’s really your choice as to what you find most flattering. In fact, with the variations in sizing available here, you can experiment with different amounts of ease.

you like for each, you’re in a great place with that particular garment.

When picking a size to make, check first on the garment’s schematic for the dimension at bust circumference. This measurement is based on the number of stitches right at the start of the body, after the yoke is divided into front, back, and two sleeves, and after adding underarm stitches joining the front and back. Now check the bicep measurement. If both these measurements on a schematic are close to your own numbers for bust and bicep, with the amount of ease

I personally love to see large, curvy bodies wearing open-necked garments that fit closely at the shoulders and bust and then flare out to the hip or thighs. You’ll find several designs here styled this way, such as Janelle, Chloe, and Bettina (shown below), where extra ease from the waist down is built into the design. This style is flattering if you are pear shaped, as it shows off the upper portion of your figure. If you have a boxy torso, the expanding lines in these garments create

JANELLE

CHLOE

Full-Figure Styles Many women concerned about their figures end up making very large, tent-like garments that cover everything adequately but may not look very stylish. Consider this, however: you can wear a shapely garment that’s very flattering if you understand how to control ease.

BETTINA

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ChOOSING A LeNGTh It’s important to think carefully about the length you want for your garments. In most cases I do not specify lengths, since without knowing someone’s height, a designer can’t know what length works best. Now that you’ve taken length measurements on your favorite garments, I hope you’re ready to take on this issue for yourself. It’s so easy when we’re working top down! You can try on as you go and stop when you like the length.

Isola has close-fitting cap sleeves.

a shapelier silhouette for your body. Just plug in the desired measurements you want at the bust with just a bit of ease — no more than 1 or 2 inches — and you should be good to go. Remember that in these flowing garments, a relaxed and fluid fabric is paramount, so be sure to review Choosing Yarns, starting on page 34.

Sleeves When planning the designs for this book, I kept ease to a minimum on the sleeves of many of the garments and worked the sleeves to the elbow only. My aim was to avoid complicating the patterns with sleeve shaping, plus I love the look of three-quarter-length sleeves. Narrow sleeves look elegant instead of baggy. When you’re picking a size or deciding how much fabric to allot to sleeves, I recommend not more than 1 to 2 inches over your bicep width for those sweaters that have sleeves with no shaping, such as Zora, Luna, and Nanette.

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An important thing to keep in mind with regard to garment length is the size of the bust compared to the measurement you need at the bottom of the garment, wherever that will be. If you decide to end at high hip, it’s likely the two can match well, given that you also have a bit of ease in the garment. If you are making a longer top, you need to be sure it will fit around the fullest part of your hips. The longer styles already include this extra ease, but you can work any of these tops to a longer length. See Adjusting the Length, on the facing page, for more details. You can also experiment with sleeve length. When working a top-down yoke, we automatically create sleeve caps — the top part of the sleeve that extends from the shoulder to the bicep. Chloe, Rosina, and Isola are examples of tops that have sleeve caps only, with no further work done on the sleeves once the yoke is finished. Any of the garments with sleeves can be easily modified to be short sleeved in the same way, and it’s a flattering look for many people. Just work the yoke and body as instructed and omit the sleeves. When working the yoke, you might also want to skip some of the sleeve increases to make the cap fit more snugly around the bicep.

fI B e R S A N D f I T Your choice of yarn has a lot to do with ease, and consequently with how the garment fits. The soft, flexible fibers that make a floating fabric allow for more ease in your garment. That’s what to aim for, particularly when making one of the longer garments that grow in width, where heavy or stiff fabric should be avoided. Fibers that have more structure, like certain wools, acrylics, and cottons, will result in fabric that’s stiffer, more suitable to garments with a closer fit, with no more than 2 inches of ease at bust and  bicep. Remember, too, that the fabric you make is determined not only by the fibers in the yarn but also by the gauge of your stitches. Work at the gauge given in the pattern, and check it often. Tightening or loosening gauge will result in very different fabric that may not behave as you intended.

m AK I N G ALT e R AT I O N S

You might want to have fuller sleeves, for example, and a narrower bust line than what you see on the schematic. Begin with the dimensions on the schematic for your size. To add an inch of fabric at each sleeve, first figure out how many stitches in an inch, using gauge. When you mark off the four sections before beginning the body, allot the extra stitches to each sleeve, and remove them from the front and back. Remember, with this alteration we are not changing the overall stitch count, so anything gained in one area must be taken from another.

Adjusting the Length As all the garments are worked top down, all you need to do to is try on your work and stop when you like the length. If you’re lengthening a shorter sweater, consider the dimensions at the bust versus the dimensions at the hips, and work increases at the sides of the body to gain more fabric if necessary. Another way to handle this, without the necessity for shaping, is to have a slit at the side, working the front and back separately for a few inches beginning at the hips or thighs.

While there is a range of sizes for all the sweaters here, you may desire a garment with specific measurements that aren’t available in the pattern. Let’s look at how patterns can be altered to suit your body and sense of style.

Altering Circular-Yoke Garments Circular-yoke garments can easily be tweaked to suit your dimensions. Since the yokes end with a smooth curve, you can divide them up into back, front, and two sleeves in any way you like. The stitch counts given in the pattern just before the body begins will give you the dimensions shown on the schematic, but you can easily allot a bit more fabric to any one section and take it from another.

ADD SIDE SLIT

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in total, perhaps 3 or 4 at each side of the body, depending on gauge. If you are making this alteration on a garment based on a stitch pattern that requires several stitches, you’ll add a full repeat of the pattern at each underarm. Using gauge, you can figure out how many inches that will add. If the yoke is too large, you can eliminate some of the underarm stitches or a pattern repeat, but do leave at least 1 inch of fabric on each side for good fit.

Changing Armhole Depth After the yoke is done, you may find its circumference is fine but the yoke depth is not. If the bottom of the armhole needs to sit lower on your body, you can easily lengthen the yoke by working a few rows even — that is, maintaining the stitch count as is with no increases, till you reach the desired length.

Adjusting the Yoke When you try on your yoke after completing one row of the body, suppose you find the dimensions need some adjusting? Remember that you can gain approximately 2 inches of fabric when blocking, depending on the fibers in your yarn. If it’s still going to be too small in circumference even with those extra inches, it’s wise to pull out the first row of the body and make additional underarm stitches. You can use this strategy to gain up to an additional 3 inches of circumference, but not much more. To have the yoke grow 3 inches in circumference, you want to add half of that — 11/2 inches — at each underarm. We are talking about just a few stitches

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On the other hand, if the armhole is too deep, you can eliminate some rows of the yoke. Since we increase stitch counts on most rows, however, this strategy may result in fewer stitches, which in turn will shrink the circumference of the yoke. If only an extra inch or two is needed, you can add stitches at the underarm to compensate for any lost by working fewer rows. If more than 2 inches are needed, however, it’s wiser to rework the last few rows of the yoke and increase more rapidly, so that you achieve the correct stitch counts with fewer rows. The issue we’re discussing applies especially to those who have a small frame and ample girth at the bust: you may find that the size with suitable dimensions for your bust is too deep at the armhole. Check the schematic of the sweater to find which size is right for your bust circumference, and which size — a smaller one — has the right dimension for armhole depth. This alteration will involve shortening the yoke while still obtaining the correct number of stitches needed for your bust and sleeve circumferences.

Instead of working all the rows in the size that matches your bust circumference, you will work the number of rows for the size that has the right armhole depth. In other words, you are making a shorter yoke. In order to do this while still reaching the target stitch counts when you get to the bottom, increase more rapidly as you work the yoke. Try this with one of the less complicated stitches, increasing 2 stitches instead of 1 (or 4 stitches instead of 3, as the case may be) as often as necessary to reach the target stitch counts.

Enlarging the Bust Women who have ample busts sometimes find they need to make specific alterations to accommodate their body shape. Knitters often use short rows for this purpose, but there are alternatives that work better in crochet. I suggest that you make the front part of the garment larger than the back by combining two sizes. On a circular-yoke design, this is really easy. All that’s required is to allot a greater number of stitches to the front than the back when marking off stitches at the end of the yoke and before adding underarm stitches. First, determine how much larger you want the garment to be on the front than on the back — if you’re not sure, measure your front and back separately at the bust, starting from an imaginary seam at the side of the body. Then, using gauge, figure out how many stitches should be allotted to the front and back of the garment. When you begin the body and are about to mark off stitches for body and sleeves, substitute your

numbers for those in the pattern. Sleeve counts can stay the same, or if you need to add a bit more fabric at the bust, you can borrow a couple of stitches from the sleeves, provided each sleeve will still be large enough. If you’re working a raglan-style top, work the raglan increases on the front as instructed for the larger size, and those on the back for the smaller. This will supply enough fabric for your chest and avoid having extra fabric at the back of the sweater. If the larger size has more rows or rounds in the yoke than the smaller size, work the number of rounds given for the larger size, increasing on the front as instructed, and working even on the back.

Lengthening and Tapering Sleeves If you’d like to lengthen any of the shorter sleeves, it’s wise to taper them as well, so they conform to the arm’s shape and and are not baggy at the wrist. This is pretty simple for many of the designs in this book, with the exception of those worked with complex lace stitches. To make this alteration, first measure from your elbow down to where you want the sleeve to end, at the wrist or elsewhere. Now figure out how many more rounds you’ll need to achieve that length, using row gauge. Or you can just take the sleeve you’ve made thus far and place it along the arm to see how many rounds it will take. On these additional rounds, you’ll make decreases to achieve a narrower sleeve by the time you get to the wrist.

A Tricky Fix: Use with Caution For some of the more complex stitch patterns, there is another trick you can try to shorten the armhole: follow the pattern but work at a slightly tighter row gauge. As I believe achieving correct gauge is critical when creating a garment, it’s hard for me to recommend this! But if you promise to tighten up just a little on the height of your stitches, your yoke will come out a bit shorter. Be careful, though — if you tighten up too much, the fabric will become dense and will lose its drape.

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JADE

ZORA

NANETTE

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GENEVIEVE PA R T 1 : T h e T e C h N I q U e S

Start decreasing once you are past the elbow on the sleeve. Try decreasing by one stitch on each round, doing so at the beginning or end of the round, so that the decreases are in the least visible part of the sleeve, where the arm faces the body. This keeps the “seam” well centered on the inside of the arm. See Genevieve, Magda, and Jade for how it’s done. Try on the sleeve as you go to check the fit. If it’s getting smaller too fast, decrease on every other row instead of every row. Stop decreasing when you get to the circumference needed at the end of the sleeve. You can work even for a few inches at the bottom of the sleeve. Be sure to keep careful notes of how you achieved the shaping on the first sleeve so that you can duplicate it on the second.

Waist Shaping Because all the sweaters in this book have good drape, I used waist shaping in only one of the designs, Magda. If, however, you are using stiffer yarn, the fit may benefit from waist shaping, since stiffer fabric doesn’t flow as nicely around the body and will have a boxier appearance. By tapering a bit for the waist, you will create a more flattering shape. When tapering for the waist, I recommend removing no more than an inch or slightly more on either side of the body, perhaps 2 to 3 inches altogether, from bust circumference. We’re not after a tight-fitting waist, but rather seeking to give the body of the garment a shape that outlines your own but doesn’t cling to it.

MAGDA

TA P E R I N G AT WA I S T

C h A P T e R 3 : m A K I N G yO U R G A R m e N T f I T

53

Here are the steps for shaping the waist:

Tightening the Neckline

1.

If you follow the advice in this book and try on your yoke soon after working the first few rounds, you’ll avoid major problems with neckline fit. Still, as yarn can be stretchy, you may find the neck looks better if tightened up a little. This is a simple fix. With a hook one size smaller than used in the project, work a round of single crochet or slip stitches all around the neckline and try it on again. This may very well accomplish the task, but if further tightening is needed, work another round or two of single crochet, decreasing by up to 5 or 6 stitches in each round, spreading the decreases out all along the neckline. Try on the sweater after each round so you know when you’ve reached the right dimension.

Determine the distance from where your bust is the largest to where you want the garment to be narrowest. Using row gauge, convert this inches figure into a number of rows.

2. Now, using stitch gauge, figure out how many stitches you will need to narrow the garment by about an inch on each side, 2 inches altogether. This number will be only a few stitches.

3. Begin decreasing once you’ve cleared the largest part of your bust. Work decreases at the sides of the body lined up with the center of the underarm stitches. Always decrease on both sides to keep the garment symmetrical. Spread the decreases out over the rows you have left as you work to the waist, so that you have eliminated the correct number of stitches when you arrive at the waist. In other words, if you have 10 rows from bust to waist, and need to remove 8 stitches altogether, you will be decreasing on only 4 of those rows, 2 stitches at a time, and working even on other rows.

4. Once you’ve reached the waist and your lower stitch count, work even for about 2 to 3 inches.

5. Determine how many rows are needed to get from the last row of the waist to the widest part of your hips. Make the increases in the same place as your decreases, at the sides of the body, lined up with the center of the underarm stitches.

6. Spread the increases out over these rows so that you reach the point of your largest hip width at the correct distance. This distance is likely to be shorter than that from bust to waist, and you may have to increase on each row. Aim to reach the correct stitch count for your hip circumference, plus ease.

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PA R T 1 : T h e T e C h N I q U e S

Converting a Pullover to a Cardigan Several of the raglan garments in this book can easily be converted from pullovers to cardigans. Simply divide the number of stitches for the front in half, add 1 stitch for the edge, and you will have the stitch count for each front piece. Naturally, you will have to work flat and turn at the ends of rows. If the garment has a dropped front neckline, the pullover pattern will specify the number of chains needed for joining the two sections together. For your cardigan version, you will need to work half the number of chains for each front section. Remember, however, to add extra chains for a turning chain. Of course, you won’t be joining the chains from each front piece, but keeping an opening at the front. If you want to add a button band or other sort of edging on the center front edges, a narrow one will not change the dimensions of your sweater much — and that’s a good thing. If you want a wider band or edging, you will need to subtract a few stitches from the front pieces so you won’t add on too much extra fabric. An exception is if you want more fabric on the front of your sweater to accommodate a larger bust; in this case a wide edging on each front piece can accomplish that, and you will not need to subtract stitches.

PUL LOVE R TO C A R D IGAN CON VE R SIO N

JADE

MAGDA

C h A P T e R 3 : m A K I N G yO U R G A R m e N T f I T

55

56

PA R T 1 : T h e T e C h N I q U e S

PART 2

T HE PAT T ER NS

C h A P T e R 3 : m A K I N G yO U R G A R m e N T f I T

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AVA

58

P A R T 2 : T h e P AT T e R N S

Ava and Bettina CIRCULAR SHAPING, featured in

these two garments, forms a round neckline that makes a very pretty frame for the face. This pair is worked with easy stitches and fuzzy yarns, showing how gorgeous plain crochet can be when used in the right combination, and with yarns that show them off. Ava is clingy and a bit seductive, while Bettina is a great choice to wear over gym clothes, jeans and a tee, or leggings and boots. Ava and Bettina use basic crochet stitches: half double crochet, a pair of double crochet stitches that cross, and bobbles. Executing the yoke requires counting your way through each round and increasing at regular intervals — every 10th or 12th or 15th stitch, for example. Don’t stress if you get off by just a few stitches at the end of a round, and review Fixing Stitch Count Errors if you do (see page 22).

BETTINA

BETTINA

Ava is worked in an alpaca/rayon blend with a thin strand and lots of fuzz, making a thin yarn behave more like a DK. The alpaca’s influence is clear in the softness and super drapiness of the fabric, and also in its tendency to stretch. It gives a relaxed feel to the sweater’s close-fitting silhouette. Ava is adorned with a few rows of bobbles, liberally spaced, at the yoke and cuffs. To prevent stitch counting and pattern writing

59

from getting too complicated, the bobbles in Ava are freely placed, meaning they don’t line up precisely from one bobble round to the other. Unlike the geometric shapes in Aran styles, I was seeking a more organic and subtle texture. The simple lines of this sweater makes it highly adaptable for picking your size: it can work with no ease or up to 3 inches of ease over bust circumference, depending on the kind of fit you prefer. At the bicep I recommend ease of up to 1 to 2 inches over your actual measurement. Bettina, made with a budget yarn that is mostly acrylic with some mohair and wool, shares some traits with the alpaca in Ava: it has a thin strand at the center with a fuzzy halo, it’s very soft and drapey, and it stretches. The slightly oversized look is casual and

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P A R T 2 : T h e P AT T e R N S

very wearable. The fabric is comfortable and light, and perhaps surprisingly, not see-through. Bettina has only one row of bobbles at the neckline. I like the relaxed look of this tunic with plenty of ease — 3 to 5 inches, provided you can get a similarly flexible fabric with your yarn choice. You can use a variety of sock or fingering-weight yarns for either of these garments, and if you want to mimic the softness and flow you see in the models, choose one that has a bit of fuzz, made with fibers that enhance drape (see Fibers and Fit, page 49). Blocking your finished piece will also give you more of this quality.

Ava F I N I S HED Sizes S M L XL XXL

MEASUREMENTS Bust 34" 38" 42" 46" 50"

YA R N Berroco Folio, 65% superfine alpaca/35% rayon, 219 yds/50 g, 5 (6, 7, 8, 9) balls of Orr (4502)

Gauge Swatch Ch 18. ROW 1 Hdc in 3rd ch from hook, hdc in each ch across, turn. 16 hdc ROW 2 Ch 2 (does not count as st throughout), work

crossed dcs (see next page) across, turn. ROW 3 Ch 2, hdc in each dc across, turn. ROW 4 Rep row 2. ROWS 5–8 Rep rows 3 and 4 twice more, fasten off.

TO O L S US F/5 (3.75 mm) crochet hook or size needed to obtain correct gauge One size smaller hook for neck trim only Four stitch markers G AU GE 12 sts = 3"; 6 rows/rnds = 21/2"

Notes • Always slip stitch to top of starting chain at ends of rounds. • Turning chains do not count as a stitch throughout. • When working rounds of crossed double crochet, when stitch count is an odd number, work one additional dc in the last stitch of the round. • There are three bobble rounds on the yoke. The bobbles are not meant to line up from one round to the next. • There will be a few extra stitches at the ends of bobble rounds; simply work hdc in each stitch to the end of the round.

AVA A N D B e T T I N A

61

Yoke

Special Stitches and Abbreviations BOBBLE (Yo, insert hook in designated st and draw

up a loop, yo, draw through 2 loops) 5 times, yo, insert hook in same stitch, yo, draw up a loop, yo, draw through all loops on hook. Note that working the bobble this way makes it pop out more. CROSSED DCS (crossed double crochet sts): Skip

next st, dc in next st, dc in skipped st. INC (INCREASE IN DC ROWS) Dc in next dc,

dc in prev st (same st as 2nd leg of last pair of crossed dcs).

bobble rnd 4 3

increase rnd

1

SYMBOL KEY sl st

hdc

crossed dc

dc

bobble

ch sc

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P A R T 2 : T h e P AT T e R N S

Ch 93 (97, 97, 97, 97). RND 1 (WS) Hdc in 3rd ch from hook and each ch across, sl st to top of starting ch 2, turn. 92 (96, 96, 96, 96) sts RND 2 Ch 2 (does not count as st throughout), *work crossed dcs 5 (4, 4, 4, 4) times, Inc, rep from * around, work crossed dcs to end of rnd, sl st, turn. 100 (106, 106, 106, 106) sts RND 3 Ch 2, *hdc in next 9 (9, 9, 9, 8) dc, 2 hdc in next dc, rep from * around, hdc in each st to end of rnd, sl st, turn. 110 (116, 116, 116, 117) sts RND 4 Ch 2, *work crossed dcs 6 (5, 5, 5, 4) times, Inc, rep from * around, work crossed dcs to end of rnd, sl st, turn. 118 (126, 126, 126, 130) sts RND 5 Ch 2, *hdc in next 4 dc**, bobble in next dc, sc in next dc, rep from * around ending last rep at **, hdc in each dc to end of rnd, sl st, turn. RND 6 Ch 2, *work crossed dcs 6 (6, 6, 6, 5) times, Inc, rep from * around, work crossed dcs to end of rnd, sl st, turn. 127 (135, 135, 135, 141) sts RND 7 Ch 2, * hdc in next 13 (12, 12, 14, 11) sts, 2 hdc in next st, rep from * around, hdc in each dc to end of rnd, sl st, turn. 136 (145, 145, 145, 152) sts RND 8 Ch 2, *work crossed dcs 7 (7, 7, 7, 6) times, Inc, rep from * around, work crossed dcs to end of rnd, sl st, turn. 145 (154, 154, 154, 163) sts RND 9 Ch 2, *hdc in next 14 (14, 14, 14 15) dc, 2 hdc in next dc, rep from * around, hdc in each dc to end of rnd, sl st, turn. 154 (164, 164, 164, 173) sts RND 10 Ch 2, *work crossed dcs 8 (8, 8, 7, 7) times, Inc, rep from * around, work crossed dcs to end of rnd, sl st, turn. 163 (173, 173, 173, 184) sts RND 11 Ch 2, hdc in next 6 hdc, *bobble in next dc, sc in next dc, hdc in next 6 hdc, rep from * around, hdc in each dc to end of rnd, sl st, turn. RND 12 Ch 2, *work crossed dcs 8 (9, 9, 9, 7) times, Inc, rep from * around, work crossed dcs to end of rnd, sl st, turn. 172 (182, 182, 182, 196) sts RND 13 Ch 2, *hdc in next 20 (17, 19, 19, 18) dc, 2 hdc in next dc, rep from * around, hdc in each dc to end of rnd, sl st, turn. 181 (192, 192, 192, 206) sts

RND 14 Ch 2, *work crossed dcs 10 (10, 10, 9, 8)

times, Inc, rep from * around, work crossed dcs to end of rnd, sl st, turn. 189 (201, 201, 201, 218) sts RND 15 Ch 2, *hdc in next 22 (21, 21, 21, 20) dc, 2 hdc in next dc, rep from * around, hdc in each dc to end of rnd, sl st, turn. 197 (210, 210, 210, 228) sts RND 16 Ch 2, *work crossed dcs 10 (11, 11, 11, 9) times, Inc, rep from * around, work crossed dcs to end of rnd, sl st, turn. 206 (219, 219, 219, 240) sts RND 17 Ch 2, *hdc in next 6 dc, bobble in next dc**, sc in next sc, rep from * across, ending last rep at **, hdc in each dc to end of rnd, sl st, turn. RND 18 Ch 2, *work crossed dcs 15 (11, 11, 11, 10) times, Inc, rep from * around, work crossed dcs to end of rnd, sl st, turn. 212 (228, 228, 228, 251) sts

SMALL AND MEDIUM ONLY: Place loop on holder, continue to body.

LARGE, X-LARGE, XX-LARGE ONLY: RND 19 Ch 2, *hdc in next (24, 24, 24) dc, 2 hdc in

next dc, rep from * around, hdc in each dc to end of rnd, sl st, turn. (237, 237, 261) sts RND 20 Ch 2, *work crossed dcs (16, 9, 11) times, Inc, rep from * around, work crossed dcs to end of rnd, sl st, turn. (244, 249, 272) sts

LARGE ONLY: Place loop on holder, continue to body.

X-LARGE AND XX-LARGE ONLY: RND 21 Ch 2, *hdc in next (18, 26) dc, 2 hdc in next

dc, rep from * around, hdc in each dc to end of rnd, sl st, turn. (262, 282) sts RND 22 Ch 2, *work crossed dcs (12, 13) times, Inc, rep from * around, work crossed dcs to end of rnd, sl st, turn. (272, 292) sts Place loop on holder, continue to Body.

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63

Body UNDERARM CHAINS From center back, not counting turning chain, *count 32 (35, 38, 42, 45) sts, PM in this stitch. Beginning in next stitch count 42 (44, 46, 52, 56) sts, PM in this stitch. Beginning in stitch to the right of turning chain on back, repeat from *. This marks off 64 (70, 76, 84, 90) sts for back/front and 42 (44, 46, 52, 56) sts for each sleeve. With separate strand join yarn at right back marked st, ch 4 (6, 8, 8, 10), sl st to right front marked st, fasten off. With separate strand join yarn at left back marked st, ch 4 (6, 8, 8, 10), sl st to left front marked st, fasten off.

ALL SIZES With WS facing, pick up live loop. RND 1 Ch 2, *hdc in each dc to added ch, hdc in BL of each ch, rep from * once, hdc in each dc to end of rnd, sl st, turn. 136 (152, 168, 184, 200) sts RND 2 Ch 2, work crossed dcs around, sl st, turn. RND 3 Ch 2, hdc in each dc around, sl st, turn. RNDS 4–35 Rep rnds 2 and 3, fasten off. This will measure 141/2" from underarm. Feel free to work more or fewer rows to reach desired length.

Sleeve With WS facing, join yarn in unworked loop of 3rd (4th, 5th, 5th, 6th) ch at underarm. RND 1 Ch 2, hdc in unused loop of each ch, hdc in each st of sleeve, hdc in unused loop of each remaining ch at underarm, sl st to top of tch, turn. 46 (50, 54, 60, 66) sts RND 2 Ch 3, work crossed dcs around, sl st, turn. RND 3 Ch 2, hdc in each dc around, sl st, turn. RNDS 4–34 Rep rnds 2 and 3, ending with rnd 2, until sleeve is approx 3" less than desired length. Bobble Trim adds approximately 3" to length of sleeve. At end of last rnd, continue to Bobble Trim.

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P A R T 2 : T h e P AT T e R N S

Bobble Trim NEXT RND Ch 2, hdc in next 2 dc, *Bobble in next dc,

sc in next dc**, hdc in next 5 dc, rep from *, ending last rep at**, hdc in each st to end of rnd, sl st, turn. NEXT RND Ch 2, work crossed dcs around, sl st, turn. NEXT RND Ch 2, hdc in next 4 dc, *Bobble in next dc, sc in next dc**, hdc in next 5 dc, rep from * ending last rep at**, hdc in each st to end of rnd, sl st, turn.

Finishing Because of the soft pliability of this yarn, structure is needed at the neckline, and, in most cases, some

tightening up as well. Try on the garment before applying this edging to determine whether you want the neckline to be closer fitting. If some tightening is needed, use a smaller hook as suggested. If not, then follow the same instructions but use the same size hook. If you need to tighten up the neckline further after working the edging, work additional rounds of single crochet, decreasing every 8th stitch or so, until you get to the desired size. With one size smaller hook and RS facing, join yarn in foundation ch of first st of rnd 1, ch 1, sc in same st, sc in each st around, sl st to first sc, fasten off.

Ava 23 (24, 24, 24, 24)˝

2˝ 11½ (12½, 13½, 15, 16½)˝ 7½ (7½, 8¼, 9, 9)˝

34 (38, 42, 46, 50)˝

AVA A N D B e T T I N A

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Bettina F I N I S HED Sizes S M L XL

MEASUREMENTS Bust 35" 40" 45" 49"

YA R N Patons Lace, 80% acrylic/10% mohair/10% wool, 498 yds (455 m)/3 oz (85 g), 2 (3, 3, 3) balls of Arctic Plum (For yarn sample, see page 69.)

GAU GE 12 sts = 3"; 6 rows/rnds = 2¼"

Gauge Swatch Ch 18. ROW 1 Hdc in 3rd ch from hook, hdc in each ch across, turn. 16 hdc ROW 2 Ch 2 (does not count as st throughout),

work crossed dcs across, turn. ROW 3 Ch 2, hdc in each dc across, turn.

TO O L S US F/5 (3.75 mm) crochet hook or size needed to obtain correct gauge One size smaller hook for rnd 1 only Four stitch markers

ROW 4 Rep row 2. ROWS 5–8 Rep rows 3 and 4 twice more, fasten off.

Special Stitches and Abbreviations

Notes • Sc stitches are used after bobbles to make them pop. • Ch 2 is worked at the start of all rounds. They should match the height of the crossed double crochet stitches, since they are on a slant. The ch-2 that begins each round is NOT counted as a stitch. • In rounds of crossed double crochet stitches, when stitch count is an odd number, work one dc in the last stitch of the rnd. • Increases are made on Body beginning on round 5. To keep increases at “side seam,” markers are moved back and forth. For example, in round 9 of body, the marker is in the second stitch of the increase; in round 13, it is in the first stitch of the increase; in round 17, back to the second, and so on. On rounds where no increase is made, move the marker to the stitch worked into the marked stitch.

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P A R T 2 : T h e P AT T e R N S

BOBBLE (Yo, insert hook in designated st and draw

up a loop, yo, draw through 2 loops) 5 times, yo, draw through 6 loops on hook. CROSSED DCS (CROSSED DOUBLE CROCHET STITCHES) Skip next st, dc in next st,

dc in skipped st. FHDC (FOUNDATION HALF DOUBLE CROCHET) Ch 2, yo, insert hook in 2nd ch from

hook and draw up a loop, ch 1, yo, draw through 3 loops on hook (first Fhdc completed). For next st *yo, insert hook in base ch of st just made and draw up a loop, ch 1, yo, draw through 3 loops. Repeat from * to continue. INC (INCREASE IN DC ROWS) Dc in next dc,

dc in prev st (same st as 2nd leg of last pair of crossed dcs).

5 4

bobble rnd increase rnd 1

SYMBOL KEY sl st

hdc

crossed dc

Fhdc

bobble

ch sc

dc

Yoke Begin with smaller hook. RND 1 (WS) Ch 2 (not counted as st throughout), work 84 (86, 86, 86), Fhdc, sl st to top of ch-2, turn. 84 (86, 86, 86) hdc Change to larger hook. RND 2 Ch 2, *work crossed dcs 5 (4, 4, 4) times, Inc, rep from * around, work crossed dcs to end of rnd, sl st to top of starting ch, turn. 91 (95, 95, 95) dc RND 3 Ch 2, *hdc in next 9 dc, bobble in next dc, (sc, hdc) in next dc, rep from * around, hdc in each dc to end of rnd, sl st to top of starting ch, turn. 99 (103, 103, 103) sts RND 4 Ch 2, *work crossed dcs 5 times, Inc, rep from * around, work crossed dcs to end of rnd, sl st to top of starting ch, turn. 108 (112, 112, 112) sts RND 5 Ch 2, *hdc in next 12 (11, 11, 11) dc, 2 hdc in next dc, rep from * around, hdc in each dc to end of rnd, sl st to top of starting ch, turn. 116 (121, 121, 121) sts RND 6 Ch 2, *work crossed dcs 6 times, Inc, rep from * around, work crossed dcs to end of rnd, sl st to top of starting ch, turn. 124 (130, 130, 130) sts RND 7 Ch 2, *hdc in next 14 (13, 13, 13) dc, 2 hdc in next dc, rep from * around, hdc in each dc to end of rnd, sl st to top of starting ch, turn. 132 (139, 139, 139) sts

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67

RND 12 Ch 2, *work crossed dcs 9 times, Inc, rep

RND 8 Ch 2, *work crossed dcs 7 times, Inc, rep from

* around, work crossed dcs to end of rnd, sl st to top of starting ch, turn. 140 (148, 148, 148) sts RND 9 Ch 2, *hdc in next 16 (15, 15, 15) dc, 2 hdc in next dc, rep from * around, hdc in each dc to end of rnd, sl st to top of starting ch, turn. 148 (157, 157, 157) sts RND 10 Ch 2, *work crossed dcs 8 times, Inc, rep from * around, work crossed dcs to end of rnd, sl st to top of starting ch, turn. 156 (166, 166, 166) sts RND 11 Ch 2, *hdc in next 18 (17, 17, 17) dc, 2 hdc in next dc, rep from * around, hdc in each dc to end of rnd, sl st to top of starting ch, turn. 164 (175, 175, 175) sts

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P A R T 2 : T h e P AT T e R N S

from * around, work crossed dcs to end of rnd, sl st to top of starting ch, turn. 172 (184, 184, 184) sts RND 13 Ch 2, *hdc in next 19 dc, 2 hdc in next dc, rep from * around, hdc in each dc to end of rnd, sl st to top of starting ch, turn. 180 (193, 193, 193) sts RND 14 Ch 2, *work crossed dcs 10 times, Inc, rep from * around, work crossed dcs to end of rnd, sl st to top of starting ch, turn. 188 (202, 202, 202) sts RND 15 Ch 2, *hdc in next 20 (21, 21, 21) dc, 2 hdc in next dc, rep from * around, hdc in each dc to end of rnd, sl st to top of starting ch, turn. 196 (211, 211, 211) sts RND 16 Ch 2, *work crossed dcs 11 times, Inc, rep from * around, work crossed dcs to end of rnd, sl st to top of starting ch, turn. 204 (220, 220, 220) sts RND 17 Ch 2, *hdc in next 24 (23, 23, 23) dc, 2 hdc in next dc, rep from * around, hdc in each dc to end of rnd, sl st to top of starting ch, turn. 212 (229, 229, 229) sts RND 18 Ch 2, *worked crossed dcs 12 times, Inc, rep from * around, work crossed dc to end of rnd, sl st to top of starting ch, turn. 220 (238, 238, 238) sts RND 19 Ch 2, *hdc in next 26 (25, 25, 25) dc, 2 hdc in next dc, rep from * around, hdc in each dc to end of rnd, sl st to top of starting ch, turn. 228 (247, 247, 247) sts RND 20 Ch 2, *work crossed dcs 13 times, Inc, rep from * around, work crossed dc to end of rnd, sl st to top of starting ch, turn. 236 (256, 256, 256) sts

SMALL ONLY: Place loop on holder, continue to Body.

MEDIUM ONLY: RND 21 Ch 2, *hdc in next 41 dc, 2 hdc in next dc, rep

from * around, hdc in each dc to end of rnd, sl st to top of starting ch, turn. 262 sts RND 22 Ch 2, *work crossed dcs 21 times, Inc, rep from * around, work crossed dcs to end of rnd, sl st to top of starting ch, turn. 268 sts Place loop on holder, continue to Body.

LARGE AND X-LARGE ONLY:

UNDERARM STITCHES

RND 21 Ch 2, *hdc in next 31 dc, 2 hdc in next dc, rep

With separate strand join yarn at right back corner marked st, ch 4 (4, 6, 8), sl st to right front corner marked st. Repeat on left side. Remove markers. Pick up live loop. With WS facing: RND 1 Ch 2, *hdc in each dc to added ch, hdc in BL of each ch, rep from *, hdc in each dc to end of rnd, sl st to top of starting ch. 140 (160, 180, 196) sts RNDS 2–4 Work even in pattern, turning at the ends of rnds. Skipping starting ch, count 35 (40, 45, 49) sts from beginning of rnd and PM. Beginning in last st of rnd and moving in the opposite direction, count 35 (40, 45, 49) sts and PM. RND 5 Ch 2, *hdc in each st to marked st, 2 hdc in marked st, PM in hdc just made, rep from * around, hdc in each dc to end, sl st to top of ch-2, turn. 142 (162, 182, 198) sts RNDS 6–8 Work even in pattern, moving markers down each rnd and turning at ends of rnds. RND 9 Ch 2, *dc in each st to marked st, 2 hdc in marked st, move M to first of 2 hdc just made, rep from *, hdc in each dc to end, sl st to top of starting ch, turn. 144 (164, 184, 200) sts RNDS 10–12 Work even in pattern, turn. RND 13 Rep rnd 5. 146 (166, 186, 202) sts RNDS 14–16 Work even in pattern, turn. RND 17 Rep rnd 9. 148 (168, 188, 204) sts RNDS 18–48 (18–50, 18–50, 18–52) Continue in pattern, increasing every 4th rnd and moving markers back and forth from first to second st of increase, ending with 162 (184, 204, 220) sts. Fasten off. Feel free to work additional rounds until desired length is reached. If you prefer a shorter garment, you can increase more often than every 4th round to reach the same stitch count at the end of the body.

from * around, hdc in each dc to end of rnd, sl st to top of starting ch, turn. 264 sts RND 22 Ch 2, *work crossed dcs 16 times, Inc, rep from * around, work crossed dcs to end of rnd, sl st to top of starting ch, turn. 272 sts RND 23 Ch 2, *hdc in next 33 dc, 2 hdc in next dc, rep from * around, hdc in each dc to end of rnd, sl st to top of starting ch, turn. 280 sts RND 24 Ch 2, *work crossed dcs 17 times, Inc, rep from * around, work crossed dcs to end of rnd, sl st to top of starting ch, turn. 288 sts

LARGE ONLY: Place loop on holder, continue to Body.

X-LARGE ONLY: RND 25 Ch 2, *hdc in next 35 dc, 2 hdc in next dc,

rep from * around, sl st to top of starting ch, turn. 296 sts RND 26 Ch 2, *work crossed dcs 18 times, Inc, rep from *, around, work crossed dcs to end of rnd, sl st to top of starting ch, turn. 304 sts Place loop on holder, continue to Body.

Body Beginnings and ends of rounds are at the sweater’s center back. Skipping the starting ch, *count 33 (38, 42, 45) sts from beginning of round, PM in this st; beginning in next st count 52 (58, 60, 62) sts and PM in this stitch. Beginning with last st of round and moving in opposite direction, repeat from *. This marks off 66 (76, 84, 90) sts on back and the same number on front, and 52 (58, 60, 62) sts for each sleeve.

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Sleeves

RND 3 Ch 2, hdc in each dc around, sl st to top of

With WS facing, join yarn in 2nd (2nd, 3rd, 4th) st at underarm. RND 1 Working into unworked loops of underarm ch, ch 2, hdc in each ch at underarm, hdc in each st of sleeve, hdc in remaining ch at underarm, sl st to top of starting ch, turn. 56 (62, 66, 70) sts RND 2 Ch 2, work crossed dcs around, sl st to top of starting ch, turn.

starting ch, turn. RNDS 4–19 Continue in pattern, working even and

turning at ends of rnds, fasten off. Sleeve measures 7" from underarm. Feel free to work more or fewer rounds to achieve desired length.

Finishing Steam or wet block as needed.

Bettina 21 (21½, 21½, 21½)˝

1˝ 14 (15½, 16½, 17½)˝ 7½ (8¼, 9, 9¾)˝

35 (40, 45, 49)˝

40 (46, 51, 56)˝

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P A R T 2 : T h e P AT T e R N S

ISOLA

CHLOE

Isola and Chloe GET THE HANG OF RAGLAN shaping and

lace stitches with this flirty pair. Both have short cap sleeves, so once you’ve finished the yoke, you’re done with the sleeves. Isola is close fitting and apt for an evening out. Chloe is a cardigan that opens out to a full hip and longer length, perfect for layering over skinny jeans.

The lace stitch used here is a fairly simple one, but placing markers and counting pattern repeats does require close attention. Those two designs show how versatile a cap sleeve can be. With a narrow silhouette, a tight-fitting sleeve, and glittery yarn, Isola is both classy and flirty.

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In contrast, Chloe’s relaxed fit expands below the waist and reaches tunic length. The lace stitch is as pretty in Isola’s springy cotton-rayon sport weight as it is in the slightly thinner yarn used in Chloe, a merino and nylon blend. I chose soft color changes in the self-striping yarn, so that the left and right front pieces wouldn’t have jolting color differences. Isola can look good on many body types, depending on the amount of ease you use. To show off your curves, I recommend either no ease or an inch of ease at the bust; if you want a roomier look and feel, up to 3 inches of ease can be added to the bust, but I advise keeping the sleeve cap small and snug. Chloe has a larger sleeve opening and is an equally versatile garment, with plenty of built-in ease from the waist down.

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P A R T 2 : T h e P AT T e R N S

When making Chloe, think about your ideal length for the garment. The bottom flairs out, and the shaping that creates this flair should begin about 4 inches from the bottom of the garment. This means you might want to adjust the number of rows before that shaping — called hip shaping in the pattern — begins. Where this shaping starts will depend on your height and where you like the bottom of the garment to be. This is an easy adjustment to make if you try on as you go. If you’re new to raglan yokes and the practice of placing markers, please don’t let it worry you — it’s just a matter of counting from one spot to the next and then slipping a marker or safety pin into the stitch.

For these garments we count pattern repetitions instead of individual stitches. Consult the stitch diagrams to see exactly where the pattern repeat begins and ends on each row, how the raglan increases work, and where to place your markers. Note also that sometimes we increase on the body of the garment, but not on the sleeve. You’ll see that after making such an increase the markers are no longer at the obvious raglan points, and that the raglan points are less distinct — that’s perfectly fine. Stick with your markers, and they will guide you. I do advise counting at the end of each section as you work each row of the yoke. It’s always wise to check that your stitch counts are on track. To show off the intricacy of the lace stitch in these designs, choose a yarn with a smooth, uncomplicated surface. It should be possible to match gauge with a variety of sport- or fingering-weight yarn, and this stitch looks lovely in many different yarns.

Isola FIN ISHED MEASU REMEN T S Sizes Bust S 34" M 37" L 421/2" XL 48" YARN Designing Vashti Lotus, 52% cotton/48% rayon, 256 yds/100 g, 3 (4, 4, 5, 5) balls of Satin Grey (0003) (For yarn sample, see page 75.) TOOL S US E/4 (3.5 mm) crochet hook or size needed to obtain correct gauge Four stitch markers GAU GE 3 pattern reps = 4¼"; 4 rows = 11/2"

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Notes • To count pattern repeats, note the stitches that appear after the asterisk and before the words “rep from” in each row. This is the group of stitches that counts as a pattern repeat for each row of the pattern. • Where pattern says to work into “same sc,” it means work into the same sc you worked into when making the stitch before. • The Cluster used here has 4 double crochet stitches worked together. Each stitch of the group

is called a “leg.” In most cases, you will make the first 2 legs in the same stitch or space and the second 2 legs in a different stitch or space, usually skipping a stitch in between. When instructions say to work Cl “over” designated stitches, work the first 2 legs in the first stitch or space within the parentheses and the other 2 legs in the 2nd designated stitch or space within the parentheses. The exception is when Cl are worked over chains (as in rnd 6 and first rnd of Body), where each leg is worked into a different chain.

Gauge Swatch Ch 26. ROW 1 Ch 6 (counts as dc, ch 3), *sk 3 ch, sc in next

ch, ch 3, sk 3 ch, dc in next ch**, ch 3, rep from * across, ending last rep at **, turn. 3 pattern reps ROW 2 Ch 3, dc2tog in first ch-3 sp, *ch 4, sc in next

sc, ch 4, Cl, rep from * across, dc2tog in last ch-3 sp, dc in last sc, turn. ROW 3 Ch 1, *sc in Cl, ch 3, dc in sc, ch 3, rep from *

across, sc in last dc, turn. ROW 4 Ch 1, sc in first sc, *ch 4, Cl, ch 4, sc in next sc, rep from * across, turn. ROW 5 Ch 6, *sc in next Cl, ch 3, dc in next sc**, ch 3, rep from * across, ending last rep at **, turn.

Special Stitches and Abbreviations CL (CLUSTER) (Yo, insert hook in designated st, yo and draw up loop, yo, draw through 2 loops) twice, (yo, insert hook in next designated st, yo and draw up loop, yo, draw through 2 loops) twice, yo and draw through 5 loops on hook.

74

INC1 (Dc, ch 1) twice in designated st, dc in same st.

Where designated sts are not spelled out, work Cl as follows: (Yo, insert hook in next ch-3 sp, yo, draw up loop, yo, draw through 2 loops) twice, sk next dc, (yo, insert hook in next ch-3 sp, yo, draw up a loop, yo, draw through 2 loops) twice, yo draw through 5 loops on hook.

INC2 Cl over (ch-3 sp, sk next dc, next ch-1 sp), ch 4, Cl over (same ch-1 sp, sk next dc, next ch-1 sp), ch 4, Cl over (same ch-1 sp, sk dc, next ch-3 sp).

DC2TOG (WORK 2 DOUBLE CROCHET

sc in next Cl. Note: There are 3 sc included in this increase. Markers go in the 2nd one.

STITCHES TOGETHER IN SAME STITCH)

(Yo, insert hook in designated st, yo and draw up loop, yo, draw through 2 loops) 2 times, yo and draw through 3 loops on hook. FSC (FOUNDATION SINGLE CROCHET)

Ch 2, insert hook in 2nd ch from hook and draw up loop, *ch 1 loosely, yo, draw through 2 loops** (first Fsc made), insert hook in base ch of Fsc just made, draw up loop, rep from * for next st and every st in rnd, ending at **.

Inc 3

Inc 1

Inc 2

INCRE ASES S Y MBOL K E Y sl st

dc2tog

ch sc dc

Cl

INC3 (Sc in Cl, ch 3, dc in next ch-4 sp, ch 3) twice,

V-ST (Dc, ch 1, dc) in designated st

Yoke (RS) Work 112 (112, 112, 128) Fsc, sl st to first Fsc, turn. RND 1 (WS) Ch 4, dc in same st (counts as half of

first Inc1), PM in dc just made, *(ch 3, sk 3 sc, sc in next sc, ch 3, sk 3 sc, dc in next sc) 2 (2, 2, 2, 3) times, (ch 1, dc in same sc) twice (2nd Inc1), PM in dc just made, (ch 3, sk 3 sc, sc in next sc, ch 3, sk 3 sc**, dc in next sc) 5 times, (ch 1, dc in same sc) twice (3rd Inc1), PM in dc just made, rep from * once, ending last rep at ** (4th Inc1), (dc, ch 1) in first st to complete Inc1, sl st to 3rd ch of starting ch-4, turn. PM in last dc of each Inc. 14 (14, 14, 16) pattern reps plus 4 Inc points: 5 pattern reps on front/back, 2 (2, 2, 3) on each sleeve RND 2 Sl st to next ch-1 sp, ch 2, dc in same ch-1 sp (counts as 2nd leg of Cl to be finished at end of rnd), ch 4, Cl over (same ch-1 sp, sk next dc, next ch-3 sp), *ch 4, sc in next sc, ch 4**, Cl, rep from * to ch-3 sp before M ending last rep at **, Inc2, move M to last Cl made, rep from * around, work first leg of last Cl in last ch-3 sp and 2nd leg in next ch-1 sp, ch 4, (yo, insert hook in same ch-1 sp and draw up a loop, yo, draw through 2 loops) twice, with 3 loops on hook insert hook in top of dc of starting Cl, yo, draw through all loops on hook, turn.

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75

RND 3 Ch 1, sc in same st, ch 3, dc in next ch-4 sp, ch

RND 11 Ch 1, sc in same st, ch 3, dc in next ch-4 sp, ch

3, *sc in next Cl, ch 3, dc in next sc, ch 3**, rep from * to next M, Inc3 beginning in marked st, move M to 2nd sc of Inc just made, ch 3, dc in next sc, ch 3, rep from *, ending last rep at **, sc in Cl, ch 3, dc in ch-4 sp, ch 3, sl st to starting sc, turn. RND 4 Ch 1, sc in first sc, *ch 4, Cl, ch 4**, sc in next sc, rep from * around, moving M to sc worked into marked st, ending last rep at **, sl st to starting sc, turn. 22 (22, 22, 24) pattern reps: 7 on front/back, 4 (4, 4, 5) on each sleeve RND 5 Ch 4, dc in same st (counts as half of Inc1), *ch 3, sc in next Cl, ch 3**, dc in next sc, rep from * to M ending last rep at **, Inc1 in marked st, move M to last dc of Inc, rep from * 2 more times, continue in pattern around, (dc, ch 1) in first sc of previous rnd [same st as initial (ch 4, dc of working rnd)], sl st to 3rd ch of starting ch-4, turn. RNDS 6–8 Rep rnds 2–4. 30 (30, 30, 32) pattern reps: 9 on front/back, 6 (6, 6, 7) on each sleeve

3, *sc in next Cl, ch 3, dc in next sc, ch 3, rep from * to M, sc in Cl, ch 3, dc in ch-4 sp, ch 3, rep from * 3 more times, continue in pattern around, sl st to top of starting sc, turn. Remove markers. RND 12 Ch 1, sc in same st, ch 4, Cl, ch 4, sc in next sc, continue in pattern around, sl st to starting sc, turn. 34 pattern reps: 11 on front/back, 6 on each sleeve RND 13 Ch 6 (counts as dc and ch 3), *sc in next Cl, ch 3**, dc in next sc, ch 3, rep from * around, ending last rep at **, sl st to 3rd ch of starting ch, turn. RND 14 Sl st to next ch-3 sp, ch 2, dc in same ch-3 sp (counts as 2nd leg of Cl), ch 3, sc in next sc, ch 3, Cl, continue in pattern around to last ch-3 sp, (yo, insert hook in ch-3 sp and draw up a loop, yo, draw through 2 loops) twice, with 3 loops on hook insert in top of dc of starting Cl, yo, draw through all loops on hook, ch 1, turn. RND 15 Sc in top of Cl, ch 3, dc in next sc, ch 3, sc in next Cl, continue in pattern around. PM in last sc of this rnd. Continue to Body.

LARGE AND X-LARGE ONLY:

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SMALL AND MEDIUM ONLY:

RNDS 9–12 Rep rnds 5–8.

Note: Inc on body only, not sleeves. RND 9 Ch 6 (counts as dc, ch 3) *sc in next Cl, ch 3**, dc in next sc, ch 3, rep from * to next M ending last rep at **, V-st in next sc, rep from * 2 more times, continue in pattern around, work last dc in first sc of previous rnd (same st as starting ch-6), ch 1, sl st to 3rd ch of starting ch, turn. Note that the last dc and ch-1 made form the first V-st of this rnd, along with 3 of the initial chains. Remove all markers. RND 10 Sl st to next ch-1 sp, ch 2, dc in same ch-1 sp (counts as first leg of Cl), dc2tog in next ch-3 sp, ch 4, sc in next sc, *continue in pattern to next V-st, Cl over (ch-3 sp before V-st, sk first dc of V-st, ch-1 sp of V-st), ch 4**, Cl over (same ch-1 sp, sk next dc, next ch-3 sp), PM in Cl just made, ch 4, rep from * around, ending last rep at **, sl st to top of starting Cl, turn.

(38, 40) pattern reps: 11 on front/back, 8, 9) on each sleeve Note: Inc on body only, not sleeves. RND 13 Ch 6 (counts as dc, ch 3) *sc in next Cl, ch 3**, dc in next sc, ch 3, rep from * to next M ending last rep at **, V-st in next sc, rep from * 2 more times, continue in pattern to end of rnd, work last dc in first sc of previous rnd (same st as starting ch-6), ch 1, sl st to 3rd ch of starting ch, turn. Note that the last dc and ch-1 made form the first V-st of this rnd, along with 3 of the initial chains. Remove markers. RND 14 Sl st to next ch-1 sp, ch 2, dc in same ch-1 sp (counts as first leg of Cl), dc2tog in next ch-3 sp, ch 4, sc in next sc, *continue in pattern to next V-st, Cl inserting hook in (ch-3 sp before V-st, sk first dc of V-st, ch-1 sp of V-st), ch 4**, Cl inserting hook in (same ch-1 sp, sk next dc, next ch-3 sp), PM in Cl just made, ch 4, rep from * around ending last rep at **, sl st to top of starting Cl, turn.

P A R T 2 : T h e P AT T e R N S

RND 15 Ch 1, sc in same st, ch 3, dc in next ch-4 sp,

MEDIUM, LARGE, AND X-LARGE ONLY:

ch 3, *sc in next Cl, ch 3, dc in next sc, ch 3, rep from * to M, sc in Cl, ch 4, dc in ch-4 sp, ch 3, rep from * 3 more times, continue in pattern around, sl st to top of starting sc, turn. Remove markers. (42, 44) pattern reps: 13 on front/back; (8, 9) on each sleeve RND 16 Rep rnd 12.

RND 1 (RS) Ch 1, sc in same (marked) sc, *ch 4, sk 3

ch, Cl inserting hook in BL of next ch for first 2 sts, in BL of next ch for second 2 sts, ch 4, sk 3 ch**, sc in next ch, rep from * to **, sc in next marked sc, continue in pattern to next underarm chains, rep from *, continue in pattern, sl st to starting sc, turn. 26 (30, 34) pattern reps

LARGE ONLY: RNDS 17–19 Work even in pattern. PM in last sc.

Continue to Body. underarm chains, sizes M, L, XL

X-LARGE ONLY: RNDS 17–19 Rep rnds 13–15. PM in last sc.

48 pattern reps: 15 on front/back, 9 on each sleeve

Body With WS facing, starting with marked sc, *count 6 (6, 8, 9) pattern reps for sleeve and PM in next sc. Count an additional 11 (11, 13, 15) pattern reps for Body and PM in next sc. Rep from *. You should end up at your starting point. With RS facing, you are now at back left sleeve. Ch 8 (17, 17, 17), sl st to marked st on front left sleeve, fasten off. Join yarn at M on back right sleeve, ch 7 (17, 17, 17), sl st to front right sleeve, do not turn, continue to rnd 1 of Body.

SMALL ONLY: RND 1 (RS) Ch 1, sc in same (marked) sc, *ch 4, sk 3

ch, Cl inserting hook in BL of next ch for first 2 legs, in BL of next ch for second 2 legs, ch 4, sk 3 ch, sc in next marked sc, ch 3, continue in pattern to next underarm chains, rep from *, continue in pattern, around, sl st to first sc, turn. 24 pattern reps

underarm chains, size S

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ALL SIZES:

RND 4 Sc in top of Cl, ch 3, dc in next sc, ch 3, sc in

RND 2 Ch 6 (counts as dc and ch 3), *sc in next Cl,

next Cl, continue in pattern around, sl st to starting sc, turn. RND 5 Ch 1, sc in sc, ch 4, Cl, continue in pattern, sl st to starting sc, turn. Rep rnds 2–5 until piece measures 14" or desired length. Fasten off.

ch 3**, dc in next sc, rep from * around, ending last rep at **, sl st to 3rd ch of starting ch, turn. RND 3 Sl st to next ch-3 sp, ch 2, dc in same ch-3 sp (counts as 2nd leg of Cl), ch 3, sc in next sc, ch 3, Cl, continue in pattern around to last ch-3 sp, (yo, insert hook in ch-3 sp and draw up a loop, yo, draw through 2 loops) twice, with 3 loops on hook insert in top of dc of starting Cl, yo, draw through all loops on hook, ch 1, turn.

Finishing Block garment as needed.

Isola 21˝

1½˝ 5½ (5½, 7, 7)˝ 10 (10, 11½, 14)˝

34 (37, 42½, 48)˝

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P A R T 2 : T h e P AT T e R N S

Chloe F I N I S HED MEASUREMENTS Sizes Bust S/M 381/2" L 44" XL 491/2" XXL 55" YA R N Crystal Palace Mini Mochi, 80% superwash Merino/20% nylon, 195 yds/50 g, 4 (5, 5, 6, 6) balls of Spice Market (#303) (For yarn sample, see page 80.) TO O L S US E/4 (3.5 mm) crochet hook or size needed to obtain correct gauge Four stitch markers G AU GE 2 pattern reps = 23/4"; 4 rows in pattern = 11/2"

Notes • To count pattern repeats, note the stitches that appear after the asterisk and before the words “rep from” in each row. This is the group of stitches that counts as a pattern repeat for each row of the pattern. • In row 1 of this pattern, the phrase “same sc” means work into the same sc you worked into when making the stitch before. • The Cluster used here has 4 double crochet stitches worked together. Each stitch of the group is called a “leg.” In most cases, you will make the first 2 legs in the same stitch or space and the second 2 legs in a different stitch or space, usually skipping a stitch in between. When instructions say to work Cl “over” designated sts, work the first 2 legs in the first st or sp within the parentheses and the other

2 legs in the 2nd designated st or sp within the parentheses. The exception is when Cl are worked over chains (as in rnd 6 and first rnd of Body), where each leg is worked into a different ch. Check the stitch diagrams that accompany this pattern for a visual reference. • This design has a built-on front neckline (see Building Necklines on page 19) that is completed in row 5. Consult the stitch diagram on page 81 for further guidance when working rows 1–6. • When working the chains along the front edges in row 5, make one or two extra chains, in case of miscounting errors, then pull them out after completing this row.

79

Gauge Swatch

FSC (FOUNDATION SINGLE CROCHET)

Ch 26.

Ch 2, insert hook in 2nd ch from hook, yo and draw up loop, ch 1, yo, draw through 2 loops (first Fsc completed); *insert hook in base ch of st just made, yo and draw up loop, ch 1, yo, draw through 2 loops, rep from * for all remaining Fsc sts.

ROW 1 Sc in 2nd ch from hook, *ch 3, sk 3 ch, dc in

next ch, ch 3, sk 3 ch, sc in next ch, rep from * across, sc in last ch, turn. 3 pattern reps ROW 2 Ch 1, *sc in first sc, ch 4, Cl, ch 4, rep from *

across, sc in last sc, turn. ROW 3 Ch 6 (counts as dc, ch 3) *sc in next Cl, ch 3,

dc in next sc, ch 3, rep from * across, dc in last sc, turn. ROW 4 Ch 3, dc2tog in first ch-3 sp, *ch 4, sc in next sc, ch 4, Cl, rep from * across, dc2tog in last ch-3 sp, dc in last sc, turn. ROW 5 Ch 1, *sc in Cl, ch 3, dc in sc, ch 3, rep from *

across, sc in last dc, turn.

INC1 (Dc, ch 1) twice in designated st, dc in same st. INC2 Cl over (ch-3 sp, next ch-1 sp), ch 4, Cl over

(same ch-1 sp, next ch-1 sp), ch 4, Cl over (same ch-1 sp, next ch-3 sp). INC3 (Sc in Cl, ch 3, dc in next ch-4 sp, ch 3) twice,

sc in next Cl. Note: There are 3 sc included in this increase. Markers go in the 2nd one. INC4 (Dc, ch 1, dc) in designated st. INC5 Cl working (2 legs in ch-3 sp, sk next dc, 2 legs

Special Stitches and Abbreviations

in ch-1 sp), ch 4, Cl working (2 legs in same ch-1 sp, sk next dc, 2 legs in next ch-3 sp).

CL (CLUSTER) (Yo, insert hook in designated st, yo

INC6 Sc in marked st, ch 3, dc in ch-4 sp, ch 4, sc in

and draw up loop, yo, draw through 2 loops) twice, (yo, insert hook in next designated st, yo and draw up loop, yo, draw through 2 loops) twice, yo and draw through 5 loops on hook.

next Cl.

Where designated sts are not spelled out, work Cl as follows: (Yo, insert hook in next ch-3 sp, yo, draw up loop, yo, draw through 2 loops) twice, sk next dc, (yo, insert hook in next ch-3 sp, yo, draw up a loop, yo, draw through 2 loops) twice, yo draw through 5 loops on hook.

ROW 1 Ch 4 (counts as dc and ch 1), (dc, ch 1, dc) in

DC2TOG (WORK 2 DOUBLE CROCHET STITCHES TOGETHER IN SAME STITCH)

(Yo, insert hook in designated st, yo and draw up loop, yo, draw through 2 loops) 2 times, yo and draw through 3 loops on hook.

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Yoke NECKLINE (RS) Work 73 Fsc, turn.

first sc, (ch 3, sk 3 sc, sc in next sc, ch 3, sk 3 sc, dc in next sc) 2 times, (ch 1, dc) twice in same sc, PM in last dc made, (ch 3, sk 3 sc, sc in next sc, ch 3, sk 3 sc, dc in next sc) 5 times, (ch 1, dc) twice in same sc, PM in dc just made, (ch 3, sk 3 sc, sc in next sc, ch 3, sk 3 sc, dc in next sc) twice, (ch 1, dc) twice in last sc, turn. 9 pattern reps total: 5 pattern reps on back, 2 pattern reps on each sleeve, plus 4 increase points, 2 markers placed in this row

ROW 2 Ch 3, dc2tog in first ch-4 sp (counts as partial

Cl), ch 4, Cl over (same ch-4 sp, next ch-1 sp), ch 4, Cl over (same ch-1 sp, next ch-3 sp), ch 4, sc in next sc, ch 4, Cl, ch 4, sc, ch 4, Inc2 beginning in ch-3 sp before M, move M to last Cl made, *ch 4, sc in next sc, ch 4**, Cl, rep from * to next M ending last rep at **, Inc2 beginning in ch-3 sp before M, move M to last Cl made, ch 4, sc in next sc, ch 4, Cl, ch 4, sc in next sc, ch 4, Cl over (last ch-3 sp, next ch-1 sp), ch 4, Cl over (same ch-1 sp, next ch-1 sp), ch 4, dc2tog in same ch-1 sp, dc in last dc, turn. 6 Inc 2

Inc 6

4 Inc 5

Inc 1

Inc 4 Inc 3

2

Inc 3

Inc 2

Inc 1

Inc 2

Inc 1 B AC K

INCRE ASES

sl st

SLEEVE

SYMBOL KEY dc2tog

ch sc dc

dc4tog Cl

1

3 LEF T FRONT

5

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ROW 3 Ch 1, sc in first dc, (ch 3, dc in ch-4 sp, ch 3, sc

ROW 7 Ch 6 (counts as dc, ch 3), *sc in next Cl, ch

in next Cl) twice, ch 3, dc in next sc, ch 3, sc in next Cl, ch 3, dc in next sc, ch 3, Inc3 beginning in marked st, move M to center sc of Inc just made, *ch 3, dc in next sc, ch 3**, sc in next Cl, rep from * to next M ending last rep at ** Inc3 beginning in marked st, move M to center sc of Inc just made, (ch 3, dc in next sc, ch 3, sc in next Cl) twice, ch 3, dc in ch-4 sp, ch 3, sc in Cl, ch 3, dc in ch-4 sp, ch 3, sc in 3rd ch of tch. In addition to 2 markers placed, PM in 2nd sc of this row and in second-to-last sc of this row. 4 markers in this row ROW 4 Ch 1, sc in first sc, *ch 4, Cl, ch 4, sc in next sc, rep from * across, moving M up to sc worked into marked st. 17 pattern reps: 7 on back, 4 on each sleeve, 1 on each front neckline

3, dc in next sc, ch 3, rep from * to next M, Inc3 beginining at marked st, PM in center sc of Inc, ch 3, dc in next sc, rep from * across, continue in pattern to end of row, turn. 30 pattern reps: 4½ on each front, 9 on back, 6 on each sleeve ROW 8 Ch 3, dc2tog in first ch-3 sp, *ch 4, sc in next sc, ch 4**, Cl, rep from * across, ending last rep at ** dc2tog in ch-6 sp, dc in 3rd ch of tch, turn. Move M up one row. ROW 9 Ch 1, sc in first dc, *ch 3, dc in next Cl, ch 3, sc in next dc, rep from * to next M, ch 3, Inc1 in marked st, PM in last dc of Inc, rep from * across, continue in pattern to end of row, turn. ROW 10 Ch 1, sc in first sc, ch 4, *Cl, ch 4, sc in next sc, ch 4, rep from * to next M, Inc2 beginning at ch-3 sp before each M, PM in last Cl of each Inc2, rep from * across, continue in pattern to end of row, turn. ROW 11 Rep row 7. 38 pattern reps: 5½ on each front, 11 on back, 8 on each sleeve ROW 12 Rep row 8. ROWS 13–16 Rep rows 9–12. 46 pattern reps: 6½ on each front, 13 on back, 10 on each sleeve

SHAPE NECKLINE ROW 5 Ch 6 (counts as dc, ch 3), sc in Cl, ch 3, Inc1

in marked st, move M to last dc worked, *ch 3, sc in Cl, ch 3**, dc in sc, rep from * to M ending last rep at ** Inc1 in marked st, move M to last dc worked, rep from * twice more, sc in next Cl, ch 3, dc in last sc, ch 21, place loop on safety pin. 4 markers in this row and remaining rows of yoke With separate strand join yarn in 3rd ch at start of this row, ch 20, fasten off. ROW 6 Sc in 2nd ch from hook, [ch 4, sk next ch, Cl over (next 2 ch, sk next ch, next 2 ch), ch 4, sk next ch, sc in next ch] twice, ch 4, sk next ch, Cl over (next 2 ch, next ch-3 sp on Yoke), ch 4, sc in next sc, ch 4, Inc2 beginning in ch-3 sp before M, move M to last Cl made, *ch 4, sc in next sc, ch 4**, Cl, rep from * to next M ending last rep at **, Inc2 beginning in ch-3 sp before M, PM in last Cl made, ch 4, sc in next sc, rep from * 2 more times, ch 4, sc in next sc, ch 4, Cl over (next ch-3 sp, sk next dc, next 2 ch), [ch 4, sk next ch, sc in next ch, ch 4, sk next ch, Cl over (next 2 ch, sk next ch, next 2 ch)] twice, ch 4, sk next ch, sc in last ch, turn. 22 pattern reps: 7 on back, 4 on each sleeve, 3½ on each front (the ½ pattern consists of the sc and 3 ch that start and end this row

82

SMALL/MEDIUM ONLY: ROWS 17 Ch 1, sc in first sc, *ch 3, dc in next Cl, ch 3,

sc in next dc, rep from * across. ROW 18 Ch 1, sc in first sc, *ch 4, Cl, ch 4, sc in next dc, rep from * across, turn. Place working loop on holder; continue to Body. ROW 19 Work even in pattern. Place loop on holder; continue to Body.

LARGE, X-LARGE, AND XX-LARGE ONLY: Note: Inc on body but not on sleeves. ROW 17 Ch 1, sc in first sc, ch 3, *dc in next Cl, ch 3, sc in next sc, ch 3, rep from * to M, Inc4 in marked st, PM in dc just made, rep from * across, continue in pattern to end of row, turn.

ROW 18 Ch 1, sc in first sc, ch 4, *Cl, ch 4, sc in next

dc, ch 4, rep from * to next M, Inc5 beginning in ch-3 sp before M, PM in last Cl made, rep from * across, continue in pattern to end of row, turn. ROW 19 Ch 6 (counts as dc, ch 3), *sc in next Cl, ch 3, dc in next sc, ch 3, *rep from * to next M, Inc6 beginning in marked st, rep from * across, continue in pattern to end of row, turn. 50 pattern reps: 7½ on each front, 15 on back, 10 on sleeves

LARGE ONLY: Place working loop on holder; continue to Body.

X-LARGE AND XX-LARGE SIZES: ROW 20 Work even in pattern. ROWS 21–23 Rep rows 13–15.

54 pattern reps: 7½ on each front, 15 on back, 12 on sleeves Place working loop on holder.

Body UNDERARM CHAINS Beginning at start of last row worked, skipping the starting ch 6, count 7 (8, 8, 8) sc and PM in this sc. Count 10 (10, 12, 12) more sc and PM in this sc. Count 13 (15, 15, 15) more sc and PM in this sc. Count 10 (10, 12, 12) more sc and PM in this sc. You have marked off 61/2 (71/2, 71/2, 71/2) pattern reps for each front (the 1/2 pattern is (dc, ch 3) at start and end of row), 10 (10, 12, 12) pattern reps for each sleeve and 13 (15, 15, 15) pattern reps for the back. Join separate strand at first marked st, ch 7 (7, 7, 14), sl st to 2nd marked st, fasten off. Join separate strand at 3rd marked st, ch 7 (7, 7, 14), sl st to 4th marked st, fasten off. Remove all markers.

ALL SIZES EXCEPT XX-LARGE: ROW 1 Ch 3, dc2tog in first ch-3 sp, *ch 4, sc in next

sc, ch 4**, Cl, rep from * to underarm ch, ending last rep at ** sk next ch, Cl over (next 2 ch, sk next ch, next 2 ch), ch 4, sk next ch, sc in next sc on body, rep from * once, continue in pattern to end of row, turn. 28, 32, 36 pattern reps ISOLA AND ChLOe

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XX-LARGE ONLY:

HIP SHAPING

ROW 1 Ch 3, dc2tog in first ch-3 sp, *ch 4, sc in next

Markers are placed at different points in order to spread increases throughout garment. *Count 3 (4, 5, 6) pattern reps from start of row, PM in next sc. Rep from * beginning on opposite end of row. 2 markers ROW 29 Continue in pattern to M, working Inc1 at each marked st and moving M to last dc of increase. ROW 30 Continue in pattern to M, working Inc2 beginning at ch-3 sp before each M and moving M to last Cl of increase. ROW 31 Continue in pattern to M, working Inc3 beginning at each M. 30 (34, 38, 42) pattern reps Remove markers. ROW 32 Work even in pattern. From start of row, *count 8 (9, 10, 11) pattern reps and PM in next sc. From opposite end of row, rep from *. ROWS 33–36 Rep rows 29–32. 32 (36, 40, 44) pattern reps ROWS 37–40 Marking off as instructed before row 29, rep rows 29–32. 34 (38, 42, 46) pattern reps ROWS 41–44 Marking off as instructed before row 33, rep rows 29–32. 36 (40, 44, 48) pattern reps ROWS 45–48 Rep rows 37–40. 38 (42, 46, 50) pattern reps Feel free to work additional rows for a longer garment.

sc, ch 4**, Cl, rep from *, to underarm ch, ending last rep at **, [sk next ch, Cl over (next 2 ch, sk next ch, next 2 ch), ch 4, sk next ch, sc in next ch] twice, working last sc in next sc on body, rep from * once, continue in pattern to end of row, turn. 40 pattern reps

ALL SIZES: ROWS 2–28 Work even in pattern.

Chloe 13˝ at start

3˝ 7 (7, 8½, 8½)˝ 15 (15, 18, 19)˝

38¼ (44, 49½, 55)˝

Finishing Block garment as needed.

52¼(57¾, 63, 68¾)˝

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Luna and Janelle IF YOU ENJOY UNUSUAL STITCHES, the

linked double trebles featured in Luna and Janelle will make you happy. It’s just like doing many short rows of Tunisian simple stitch, and a large hook makes for fabulous fluidity in the fabric. Janelle is a long cardigan with front edges that grow toward the center, offering excellent coverage with great style. Luna, with its long, slim silhouette, has an understated elegance that can serve many outfits and occasions. Rounds of linked doubles are alternated with plain half double crochet rounds, and the designs are worked circular style, usually with one stitch more

between increases in each round. As in Ava and Bettina, count your way through each round, increasing as instructed, and once you’ve mastered the linked stitch itself, you’ll find both projects are easy to work. Luna has clean lines, an open neck, and a slim silhouette, all enhanced by the yarn’s lovely color and texture. I swatched this stitch pattern — linked double trebles alternating with half doubles — with many, many yarns and finally decided I preferred the effect with subtle color changes rather than strong contrast or a solid-color yarn. This yarn is a sock or fingeringweight blend of superwash Merino and nylon. The

LUNA

JANELLE

crochet fabric with these particular stitches is quite divine — light as a feather, yet providing some warmth. I highly recommend this affordable yarn for this project, but if you substitute, try to find one with a similar fiber content. For non-animal fiber folk, check out the yarn used in Janelle; it’s another beauty! If you like the close-fitting silhouette of Luna, with an inch or less of ease at bust and bicep, scan the schematic for the measurements that come closest to your body measurements. The simple lines of this design make it work just as well with 2 to 3 inches of ease over the bust circumference, and if you go this route, you’ll want to be sure to have an equally fluid fabric. Janelle is designed especially for those who like a full-bodied, long cardigan. It’s worked in a cotton blend fingering-weight yarn that makes a lofty and light fabric. I was inspired to let this garment grow

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P A R T 2 : T h e P AT T e R N S

substantially, because it lies in such nice folds. Since there is so much built-in ease in the body and sleeves, you can look for a bust measurement with 1 to 4 inches of ease, allowing it to be more clingy in the upper body or more ample and roomy, depending on your preference. Now to the interesting characteristics of linked double treble stitches. It’s hard to use very tall stitches in garments if you want to have solid fabric. This is

because tall stitches are attached only at their tops and bottoms and stand free along the posts. Because of this space between stitches, the fabric behaves more like openwork or lace than solid fabric. But if we work those tall stitches as linked stitches, they are indeed attached all along the posts. No more holes between stitches, and voila! Truly solid fabric. In fact, linked stitches bear a very strong resemblance to Tunisian simple stitch. Look at the structure of the stitch and you’ll see what I mean (see photo at bottom of facing page). It’s as if we were making many little rows of Tunisian simple stitch, each row being 5 stitches long. As in Tunisian crochet, fabric composed of linked stitches can get quite dense, which is why we generally go up several hook sizes. This keeps the fabric looser for good drape, and that is why these fingering-weight yarns were worked with a relatively large hook. The alternate rounds of half double crochet stitches are quite loose, and so we get a hint of a lacy effect.

Luna FIN ISHED MEASU REMEN T S Sizes Bust S 36" M 40" L 44" XL 48" XXL 52" YARN Knitpicks Stroll Tonal Sock, 75% superwash Merino wool/25% nylon, 462 yds/100 g, 2 (3, 3, 3, 3) balls of Deep Waters (24904) (For yarn sample, see page 89.) TOOL S US I/9 (5.5 mm) crochet hook or size needed to obtain correct gauge 4 stitch markers GAU GE 8 Ldtr = 2"; 4 rows in pattern = 23/4"

There is one problematic aspect of linked stitches, and that is the difficulty of joining the last and first stitches in the round. You’ll find two different options for resolving the issue in the patterns. Choose fluid fibers for these designs, especially for Janelle. Review Choosing Yarns (page 34) for what fibers to seek out. You will also want a yarn that responds to wet blocking, because the front edges will tend to curl. Many sock and fingering-weight yarns can be worked at this gauge, and I highly recommend swatching the yarn first.

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6

Notes • The hook size is chosen to make the linked stitches sufficiently loose. Remember, these are a lot like Tunisian crochet, and therefore to achieve nice drape they should be worked at a loose gauge. Don’t be tempted to tighten the hdc stitches, or your rows won’t match, but allow the hdc stitches to be relaxed. • Instead of ch-2 at the start of hdc rows, the first stitch is worked as follows: Draw up loop on hook to 1/2", insert hook in first stitch, work hdc. The long chain does NOT count as a stitch. Slip stitch into that chain to close the rnd.

5 4

3 2 1 start and end of rounds 1–6

SYMBO L KEY sl st

• Similarly, ch-4 at the start of Ldtr rows does not count as a stitch. These 4 chains are there only for the purpose of making the first Ldtr. Do not work into these chains on the next round. • The last Ldtr will not link to the first Ldtr in the row. The gap will be seamed during finishing. However, you may also wish to try the Connecting Ldtr, which is described on page 94. • The slip stitches that close each round will bring the work to the first stitch. When you turn and work into the next stitch as instructed, you will be working into the last stitch of the previous row. • When working the first round of the sleeves, a small gap may occur between the hdc stitches of the sleeve and the adjacent hdcs of the body. To minimize this, instructions say to work a slip stitch into one strand of the hdc stitches on the body on both sides of the sleeve. Since the hdc rows are worked on the wrong side, slip stitch to a strand that is facing you, which will be invisible on the right side. These slipped stitches will add 2 stitches to the stitch count on the sleeves. • When instructions say to “continue in pattern, increasing every X st,” they mean to work 1 stitch fewer than X, either Ldtr or hdc depending on what row you are in, then work 2 sts in the next stitch. • Underarm stitches are worked in round 1 of body.

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hdc

ch sc

Ldtr

Gauge Swatch Ch 21. ROW 1 Hdc in 3rd ch from hook, hdc in each ch

across. 20 hdc ROW 2 Ch 4, Ldtr in each hdc across. ROW 3 Hdc in each Ldtr across. ROWS 4 AND 5 Rep rows 2 and 3, fasten off.

Special Stitches and Abbreviations LDTR (LINKED DOUBLE TREBLE STITCHES)

First st of row: Ch 4, do not turn, insert hook in BL and draw up loop in 2nd, 3rd, and 4th ch from hook, turn, insert hook in first st of prev rnd and draw up loop, (yo, draw through 2 loops) 4 times. All other sts in round: Draw up loop in 1st, 2nd, and 3rd horizontal strands that cross the post of the previous st, insert hook in next st and draw up loop, (yo, draw through 2 loops) 4 times.

Yoke Ch 85, sl st to close ring. RND 1 (RS) Ch 1, sc in each ch around, sl st to top of first sc, turn. 84 sc RND 2 *Hdc in next 5 (5, 5, 4, 4) sts, 2 hdc in next st, rep from * around, hdc in each st to end of rnd, sl st to top of first sc, turn. 98 (98, 102, 104, 100) hdc RND 3 Ch 4, *Ldtr in next 6 (6, 6, 5, 5) hdc, 2 Ldtr in next hdc, rep from * around, Ldtr in each hdc to end of rnd, sl st to top of first Ldtr, turn. 112 (112, 116, 120, 120) Ldtr RND 4 *Hdc in next 7 (7, 7, 6, 6) sts, 2 hdc in next st, rep from * around, hdc in each st to end of rnd, sl st to top of first hdc, turn. 126 (126, 130, 136, 136) hdc RND 5 Ch 4, *Ldtr in next 8 (8, 8, 7, 7) hdc, 2 Ldtr in next hdc, rep from * around, Ldtr in each st to end of rnd, sl st to top of first Ldtr, turn. 140 (140, 144, 152, 152) Ldtr RND 6 *Hdc in next 9 (9, 9, 8, 8) sts, 2 hdc in next st, rep from * around, hdc in each st to end of rnd, sl st to top of first hdc, turn. 154 (154, 168, 168, 168) sts RND 7 Continue in pattern, increasing every 11th (11th, 11th, 10th, 10th) st. 168 (168, 172, 184, 184) sts RND 8 Continue in pattern, increasing every 12th (12th, 12th, 11th, 11th) st. 182 (182, 186, 200, 200) sts RND 9 Continue in pattern, increasing every 13th (13th, 13th, 12th, 12th) st. 196 (196, 200, 216, 216) sts RND 10 Continue in pattern, increasing every 14th (14th, 14th, 13th, 13th) st. 210 (210, 214, 232, 232) sts RND 11 Continue in pattern, increasing every 15th (15th, 15th, 14th, 14th) st. 224, (224, 228, 248, 248) sts

SMALL ONLY: Place loop on holder, continue to Body.

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Body UNDERARM STITCHES

MEDIUM, LARGE, X-LARGE, AND XX-LARGE ONLY: RND 12 Continue in pattern, increasing every (16th,

16th, 15th, 15th) st. (238, 242, 264, 264) sts

MEDIUM ONLY: RND 13 Work even in pattern. Place loop on holder,

continue to Body.

LARGE, X-LARGE, AND XX-LARGE ONLY: RND 13 Continue in pattern, increasing every (17th,

16th, 16th) st. (256, 280, 280) sts

LARGE AND X-LARGE ONLY: Place loop on holder, continue to Body.

XX-LARGE ONLY: RND 14 Continue in pattern increasing every (17th)

st. (296) sts RND 15 Work even in pattern. Place loop on holder,

continue to Body.

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P A R T 2 : T h e P AT T e R N S

Beginning in first st of round, *count 34 (36, 40, 44, 47) sts and PM in this st; beginning with next st count 44 (47, 48, 52, 54) sts and PM in this st. Beginning in last st of round and working in opposite direction, rep from *. You have marked off 68 (72, 80, 88, 94) sts on both front and back and 44 (47, 48, 52, 54) stitches for each sleeve. RND 1 (WS) Hdc in each st to first M, hdc in marked st, ch 4 (8, 8, 8, 10), hdc in st after next M, hdc in each st to next M, hdc in marked st, ch 4 (8, 8, 8, 10), hdc in st after next M, hdc in each st to end. 144 (160, 176, 192, 208) sts RND 2 Ch 4, *work Ldtr in each hdc** to underarm ch, inserting hook in front loop only work Ldtr in next 4 (8, 8, 8, 10) ch, rep from * around ending last rep at **, sl st to top of first Ldtr, turn. RND 3 Hdc in each st around, sl st to top of first hdc. RND 4 Ch 4, work Ldtr in each st around, sl st to top of first Ldtr, turn. Rep rnds 3 and 4 until garment is desired length, ending with an hdc rnd. Fasten off. Model is Small size and has 22 rnds measuring 14" from underarm.

Sleeves Refer to Notes on page 88: the sixth item explains rnd 1 of sleeve. With WS facing, find 4 (8, 8, 8, 10) underarm ch (already worked into for body). Counting from rightmost st join yarn in 3rd (5th, 5th, 5th, 6th) st. RND 1 Draw up loop on hook to ½", hdc in same st, hdc in each ch at underarm, sl st in one strand of hdc from body to close hole, continue working hdc all around sleeve to remaining ch at underarm, sl st in one strand of hdc on body to close hole, hdc in last 2 (3, 4, 4, 5) ch, sl st to first hdc, turn. 48 (55, 56, 60, 64) sts RNDS 2–13 Continue in pattern, alternating hdc and Ldtr rounds as on body, fasten off. Feel free to work more or fewer rnds for desired sleeve length.

Finishing Before seaming the back, steam the two edges so that they lie flat and close together. With wrong side facing, join yarn at bottom of seam. We will work a whipstitch seam with a tapestry needle, as follows: *Bring the needle up under one loop close to the center line, cross over to its partner on the opposite side of the seam and bring the needle under that loop. Now cross back to the first side, move up one loop and rep from *. You should be able to identify

4 loops on each double treble stitch that you can connect. Don’t worry about perfect precision when matching loops from one side to the other. When you get to the half double row, work 1 whipstitch through the stitch on the left and right sides in the same manner, then continue connecting the next double treble stitches as before. After completing seams on back and each sleeve, hover over each seam again with a steam iron, pressing down with hands while fabric is hot to flatten it further.

Luna 21˝

1½˝ 12 (13¾,14, 15, 16)˝ 7½ (9, 9, 9, 10½)˝

36 (40, 44, 48, 52)˝

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Janelle F I N I S HED MEASUREMENTS Sizes Bust S 371/2" M 41" L 45" XL 51" YA R N Debbie Bliss Juliet, 52% cotton/48% acrylic, 132 yds/50 g, 12 (13, 14, 16) balls of Large Allium (03) (For yarn sample, see page 97.)

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TOOL S US I/9 (5.5 mm) crochet hook or size needed to obtain correct gauge Tapestry needle GAU GE 11 Ldtr = 3"; 4 rows in pattern = 3"

Notes • Increases at the beginnings and ends of rows create the slanted front edges of the cardigan. • Follow the increase pattern as specified in each row. When you don’t have enough stitches to work another increase near the end of a row, simply work even to the end of the row (this is spelled out in instructions as well).

Gauge Swatch Ch 21. ROW 1 Hdc in 3rd ch from hook, hdc in each ch

across. 20 hdc ROW 2 Ch 4, Ldtr in each hdc across. ROW 3 Hdc in each Ldtr across. ROWS 4 AND 5 Rep rows 2 and 3, fasten off. LDTR (LINKED DOUBLE TREBLE

Special Stitches and Abbreviations

STITCHES)

FHDC (FOUNDATION HALF DOUBLE

First st of row: Ch 4, do not turn, insert hook in BL and draw up loop in 2nd, 3rd, and 4th ch from hook, turn, insert hook in first st of prev row and draw up loop, (yo, draw through 2 loops) 4 times.

CROCHET) For first Fhdc, ch 2, yo, insert hook in 2nd ch from hook, yo and draw up a loop, ch 1, yo, draw through 3 loops on hook. For rem Fhdc, yo, insert hook in base ch of prev Fhdc, yo and draw up loop, ch 1, yo, draw through 3 loops on hook. HDC2TOG (HALF DOUBLE CROCHET DECREASE) AT BEGINNING OF ROW Ch 1,

sk first st, hdc in next st. HDC2TOG (HALF DOUBLE CROCHET DECREASE) AT END OF ROW (Yo, insert hook

in next st, yo and draw up loop) twice, yo, draw through 5 loops on hook.

All other sts in row: Draw up loop in first, 2nd, and 3rd horizontal strands that cross the post of the previous st, insert hook in next st and draw up loop, (yo, draw through 2 loops) 4 times. Note that the ch-4 at the beginning of Ldtr rows does not count as a stitch. Always work the first Ldtr of a row as instructed above. The only time we work into the ch-4 is when working the Connecting Ldtr at the sleeves.

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7 CONNECTING LDTR (used on sleeve to connect

last st of rnd with starting ch 4) After completing last st of rnd, draw up loops in next 3 bars, insert hook in any available loop in bottom ch of starting ch 4, yo, draw loop through ch and 1 loop on hook, insert hook in 2nd ch from bottom of starting ch, yo, draw loop through ch and next loop on hook, insert hook in 3rd ch from bottom of starting ch, yo, draw loop through ch and next loop on hook, insert hook in top of first Ldtr and draw through last loop on hook to fasten off. This does not count as a stitch.

5

3

1

Yoke SHAPE NECKLINE ROW 1 (WS) Work 44 Fhdc, turn. ROW 2 Ch 4 (does not count as st throughout),

2 LEF T FRONT NECK

4

SYM BO L KEY 6

ch

Fhdc

hdc

Ldtr

4 Ldtr in first hdc, *Ldtr in next 2 hdc, 2 Ldtr in next hdc, rep from * across, Ldtr in each hdc to last hdc, 4 Ldtr in tch, turn. 64 Ldtr ROW 3 Ch 2 (counts as hdc throughout), 3 hdc in first Ldtr, *hdc in next 3 Ldtr, 2 hdc in next Ldtr, rep from * across, hdc in each st across to last st, 4 hdc in last Ldtr, ch 7, turn. With separate strand, join yarn in top of starting ch-2 of this row, ch 7, fasten off. 85 hdc and 14 ch: 99 sts ROW 4 Ch 4, Ldtr in next 4 ch, 2 Ldtr in next ch, Ldtr in next 2 ch, Ldtr in next 2 hdc, 2 Ldtr in next hdc, *Ldtr in next 4 hdc, 2 Ldtr in next hdc, rep from * across, working in established increase pattern over added ch at end of row. 118 Ldtr ROW 5 Ch 2, *hdc in next 5 Ldtr, 2 hdc in next Ldtr, rep from * across, hdc in each Ldtr to end, turn. 137 hdc ROW 6 Ch 4, *Ldtr in next 6 hdc, 2 Ldtr in next hdc, rep from * across, Ldtr in each hdc to end, turn. 156 Ldtr ROW 7 (INCREASE ON FRONT EDGES)

Ch 2, hdc in same st, *hdc in next 7 Ldtr, 2 hdc in next Ldtr, rep from * across, hdc in each Ldtr to last st, 2 hdc in last st, turn. 177 hdc

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P A R T 2 : T h e P AT T e R N S

ROW 8 Ch 4, *Ldtr in next 8 hdc, 2 Ldtr in next hdc,

rep from * across, Ldtr in each hdc to end, turn. 196 Ldtr ROW 9 (INCREASE ON FRONT EDGES)

Ch 2, hdc in same st, *hdc in next 9 Ldtr, 2 hdc in next Ldtr, rep from * across, hdc in each Ldtr to last st, 2 hdc in last st, turn. 217 hdc ROW 10 Ch 4, work first Ldtr, *Ldtr in next 10 hdc, 2 Ldtr in next hdc, rep from * across, Ldtr in each hdc to end, turn. 236 Ldtr

SMALL ONLY: Continue to Body.

MEDIUM, LARGE, AND X-LARGE ONLY: ROW 11 (INCREASE ON FRONT EDGES)

Ch 2, hdc in same st, *hdc in next 11 Ldtr, 2 hdc in next Ldtr, rep from * across, hdc in each Ldtr to last st, 2 hdc in last st, turn. 257 hdc

Body *From start of row, count 33 (37, 40, 44) sts, PM in next st. Starting in marked st, count 54 (57, 60, 62) sts, PM in next st. Begining at opposite end of same row, rep from *. You have marked off 33 (38, 40, 44) sts for each front, 54 (57, 60, 62) on each sleeve, and 62 (67, 76, 85) on back. With separate strand, join yarn in marked st at back right, ch 5 (5, 5, 7), sl st to marked st on front right. With separate strand, join yarn in marked st at back left, ch 5 (5, 5, 7), sl st to marked st on left front. Remove markers. All even-numbered rows are worked even in Ldtr. In each hdc row, increases are made at front edges and also at side body, using markers to place the side increases. Move markers up at end of each row.

MEDIUM ONLY: ROW 12 Ch 4, work Ldtr in each hdc across.

Continue to Body.

LARGE AND X-LARGE ONLY: ROW 12 Ch 4, *Ldtr in next 12 hdc, 2 Ldtr in next

hdc, rep from * across, Ldtr in each hdc to end, turn. 276 Ldtr

LARGE ONLY: Continue to Body.

X-LARGE ONLY: ROW 13 Ch 2, hdc in same st, *hdc in next 13 Ldtr,

2 hdc in next Ldtr, rep from * across, hdc in each Ldtr across to last st, 2 hdc in last st, turn. 297 sts ROW 14 Ch 4, work Ldtr in each hdc across, turn. Continue to Body.

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ROW 1 (RS) Ch 2, 2 hdc in first Ldtr, *hdc in each

Ldtr to added ch, Ldtr in BL of next 3 (3, 3, 4) ch, PM in st just made, Ldtr in BL of next 2 (2, 2, 3) ch, rep from *, Ldtr in each hdc to last st, 3 hdc in last st, turn. 138 (153, 166, 187) sts ROW 2 Ch 4, work even in Ldtr, turn. ROW 3 Ch 2, 2 hdc in same st, *hdc in each st to M, 3 hdc in marked st, move M to center st of inc just made, rep from *, hdc in each st to end, 3 hdc in last st, turn. 146 (161, 174, 195) sts Continue in pattern, working all hdc rows as in row 3, which adds 8 sts in each hdc row, working even on every Ldtr row, and moving markers up after completing each row. Feel free to work additional rows until reaching desired length. Model is Large size and has 26 rows, measuring 191/2" in length from start of body.

Sleeve Check Special Stitches on page 93 to see how to work hdc decreases at beginning and end of each hdc round. With WS facing, join yarn in base ch of 3rd (3rd, 3rd, 4th) st at underarm. RND 1 Ch 2, hdc in unworked loop of each ch and in each Ldtr around, sl st to top of starting ch-2, turn. 59 (62, 65, 69) hdc RND 2 Ch 4, work Ldtr around, work Connecting Ldtr. RND 3 Ch 2, sk connecting st, hdc2tog, hdc in each Ldtr around to last 2 Ldtr, hdc2tog, sl st to top of starting ch-2, turn. 57 (60, 63, 67) hdc RNDS 4–21 Rep rnds 2 and 3, decreasing 2 sts on every odd-numbered rnd, ending with 39 (42, 45, 49) sts, turn. RND 22 Rep rnd 2. RND 23 Sl st in each st around, fasten off. Work tightly for closer fit at bottom of sleeve. Feel free to work additional rnds before rnd 23, decreasing in the same way on every odd-numbered rnd until desired sleeve length and wrist circumference are reached. End with rnd of slip sts as in rnd 23.

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Finishing Block garment as needed.

Janelle 12˝ at start

16 (17, 17¾,19)˝

7½ (9, 9,10½)˝

10 (11½, 12¼, 13¼)˝

16˝

38¼ (44, 49½, 55)˝

Approx. +20˝ over bust circumference

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JADE

MAGDA

Jade and Magda NO GARMENT BOOK would be complete without

some cables, and here we have them in a pullover and a jacket. They are easy but dramatic post stitch cables worked on a background of extended half double crochet. Jade’s snug fit and crisp stitches will spice up your jeans outfit; Magda has a softer effect, with gentle waist shaping and small tied closures at the front.

98

Any time we work with dimensional stitches (post stitches, bobbles, or other stitches that thicken the fabric), it works against drape and can make a garment quite heavy. My solution in these designs was to limit the number of cables and to use soft yarns. Jade is worked in a lovely Merino-and-silk blend sport-weight yarn, and Magda features an alpaca sport weight.

I wanted a striking cable, but one that’s not so complex that it takes away from the fun of making the project. This 6-stitch cable suits the bill — its size makes it dramatic, but for most rounds you’ll just be working front or back post stitches, with crossed stitches worked every 6 rows. When cables are worked with post stitches, the cabled stitches are always a bit shorter, since they begin down along the post. The background stitches, on the other hand, are worked into the tops of stitches. That means the 2 stitches shouldn’t be the same height, or your rows will be uneven. To avoid this, the background stitches need to be shorter than the cable stitches. I selected extended half double stitches for the background, and extended double crochet for the cables. It all adds up to a good combination of drape and stitch definition. Where the cables cross, I added an even taller stitch — treble stitches for Jade and extended trebles for Magda. I’m sure you’ve noticed, when working plain stitches in rows, how stitches worked from the wrong side create a ridge on the right side that pops out a bit from the fabric. To get a smoother fabric, I worked all the wrong-side rows in the front loop only. An added advantage of this technique is additional drape, a result of working in one loop rather than two. As for fit, Jade can certainly accommodate your preference from no ease to 3 inches of ease over the total bust circumference. Since Magda is a jacket, you will want at least 2 inches of ease, and up to 4 inches for a roomier fit. You can also have plenty of ease at the sleeves — up to 3 inches — as they taper a lot to avoid bulk at the wrists. For Jade, a narrower sleeve is preferable. If you find the neck has stretched out once the jacket is done, work a tight slip-stitch edging around it as described in Tightening the Neckline (page 54).

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For Magda I chose a very simple and functional way to close the garment, and it was the right one for the very soft alpaca yarn used, as the stretchy fabric it produces would not stand up well to buttons. If you’re working with a more substantial fiber, it’s easy to add a button band by working a single crochet border along the front edges. Consult Converting a Pullover to a Cardigan on how to accomplish this (page 54). The yoke shaping on this pair is a bit more complex than on other tops, as the cables begin along the raglan, before moving closer to the garment’s center. Had they stayed along the raglan, the cables would disappear under the arm! You’ll see that in the pattern we begin the yoke increases just inside the two outer cables but then move the increase point to the outside of the cables, further away from the center. It’s pretty cool how doing this causes the cable to curve in, isn’t it? It can be challenging to keep track of increases with markers when using half double crochet, a stitch that tends to lean in one direction more than other stitches. When you are working on the right side, the top of the stitch is to the right of the post, but when you turn and work into those stitches, the top of the stitch is to the left. For left handers, stitches will lean left on the right side, and right on the wrong side. Trust me, this can make marking stitches quite confusing! I give instructions on how to mark stitches, but if it’s not working for you, feel free to dispense with markers entirely and simply count on each row to be sure you are increasing in the correct place. That’s how I eventually did it.

Be sure to take notice of how the stitches lean when going from the cable back to extended half doubles: for the first half double after the cable, insert your hook to the left of the stitch you’re working into, not the first loop you see. Magda’s yarn is a soft and cozy, 100-percent alpaca, sport-weight yarn. You must know by now how much I love alpaca, so let’s look more closely at some of this fiber’s characteristics. For all its marvelous drape, softness, silky sheen, and warmth, alpaca is also heavy, and it stretches all too readily. Another tendency of alpaca is to pull inward, almost shrinking the stitches, which can undercut dimensional stitches such as cables. But because this yarn has a 2-ply texture and considerable fuzz, it doesn’t shrink but rather helps pop the dimension of our cable. Magda is also lighter than the typical alpaca garment. Still, don’t put an alpaca garment on a hanger for any length of time, or its own weight may stretch it out. Be very careful, if you wash alpaca, to avoid too much stretch when the garment is heavy with water. (I personally would only clean a small spot with water on this fiber, and take it to the cleaners for anything major.) The yarn used for Jade is a sport-weight blend of 70 percent Merino and 30 percent silk, with the silk adding lovely sheen. The yarn’s very smooth surface results in great stitch definition. I was surprised to find, however, that these fibers did not open up much even when wet blocked and pinned. It goes to show, you never can tell exactly what a yarn will do until you play with it. You can see from this pair that the basic design works with many different fibers, so all you need to do is find a sport-weight yarn that allows you to match the gauge. Of course, you’ll also want to consider the drape and fit you desire and match the fibers you select accordingly.

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P A R T 2 : T h e P AT T e R N S

Jade F I N I S HED MEASUREMENTS Sizes Bust S 38" M 43" L 47" XL 52" XXL 56" YA R N Cascade Venezia Sport, 70% Merino wool/30% silk, 307.5 yds (281 m)/100 g (3.5 oz), 7 (7, 8, 8, 9) balls of Deep Sea (178) (For yarn sample, see page 103.) TO O L S US F/5 (3.75 mm) crochet hook or size needed to obtain correct gauge Six stitch markers: two to mark front and back, four to mark increases G AU GE 16 sts and 10 rows in pattern = 4"

Gauge Swatch Ch 26. ROW 1 Ehdc in 3rd ch from hook and in each ch

across, turn. 24 sts ROW 2 Ch 2, FLEhdc in next 9 hdc, BPEdc in next

6 hdc, FLEhdc in each hdc to end, turn. ROW 3 Ch 2, Ehdc in next 9 hdc, FPEdc in next

6 hdc, Ehdc in each hdc to end, turn. ROW 4 Rep row 2. ROW 5 Ch 2, Ehdc in next 9 hdc, Crossed Trebles, Ehdc in each hdc to end, turn. ROWS 6–8 Rep rows 2–4. ROWS 9 AND 10 Rep rows 3 and 4.

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Notes • This design has three cables on the front and three on the back. One is at the center of the garment, and the other two are on either side of the center cable; we’ll call them side cables. The raglan increases are placed just before and just after a side cable for several rows at the start. As we work the yoke, we “bend” those cables towards the center of the garment by placing all the increases at the outside edge of the side cables. After that begins (on round 9), we use markers to help place increases and count stitches for each section of the garment. • There are four markers, one at each raglan increase point. The marker should be placed between 2 stitches. Increases for the body are made on one side of the marker, increases for the sleeve on the other side of the marker. This means there are always 2 adjacent “increase stitches.” Note where these are in each round and keep the marker between the 2. • The number of stitches to increase is not always the same for the body and sleeve on any round, nor is it consistent throughout the yoke, so be sure to read the instructions for each round carefully. • To help you keep track of stitch counts, in the first 7 rounds we give the total stitch counts for each round, and also break down the counts for the back and sleeves, giving only the number of Ehdc, as they are the counts that change. The number of stitches used for each cable will always be 6. The number of Ehdc are on either side of the center cable. We give full stitch counts for each section of the garment. • Once the cable is “moved,” we give total stitch counts for each section (front, back, two sleeves) including all cable stitches in the count (18 cable sts on the back, and 18 on the front). Use markers as instructed for these rows, but do check counts

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P A R T 2 : T h e P AT T e R N S

after completing each section, as the lean of hdc sts can cause confusion when placing markers. • When working post stitches into 6 crossed stitches, the first 3 are easy, but the second 3 are behind them and can be tricky to locate. This will always occur when working on the wrong side. I find it easiest to turn the work so I can do the first 3 looking at the right side, then turn back and work the next 3 from the back where you can more easily see them. • Since extended stitches are in between hdc and dc in height, you can use either ch-2 or ch-3 as a turning chain, depending on which one better matches the height of your Ehdc. I used ch-2 and made them a tad longer than usual. If you prefer ch-3, try making them a bit tighter than usual, and that should work, too. • When working with half double crochet stitches (extended or not) they tend to lean in one direction more than other stitches, and this can make aligning stitches from one row to the next tricky. On the working row, the top of the hdc is to the right of its post. When you turn and work into those stitches in the next round, the top of the stitch is to the left of its post. This can be confusing! Keep in mind that after completing 6 post stitches for each cable, you will see the top of the Ehdc that is behind the last cable stitch, but don’t work into it — go into the next top loop you see, which is the correct one. Also, when placing markers between increase stitches, make sure you have the same side facing as the direction worked — the right side on odd rounds, the wrong side on even rounds — or you may mark the wrong stitches. • To help you keep track of the direction of work, keep in mind the following: Odd-numbered rounds are worked from the right side and begin on the garment back, 1 stitch after the left cable, then

Special Stitches and Abbreviations across back, then right sleeve, then front, and then left sleeve. Even-numbered rounds are worked from the wrong side, beginning 1 stitch before the left cable on the back, then working around left sleeve, then front, then right sleeve, and ending on back with the left cable. Mark the center cables on the back and front to help orient yourself as you work around.

BPEDC (BACK POST EXTENDED DOUBLE CROCHET) Yo, insert hook from back

to front around post of designated st, yo and draw up a loop, ch 1, (yo, draw through 2 loops) twice. CROSSED TREBLES Sk 3 sts, tr in next 3 sts,

tr in front of 3 skipped sts. Always worked as Front Post treble.

• On odd-numbered rounds, Ehdc are worked into both loops of a stitch. On even-numbered rounds, they are worked as FLEhdc (in the front loop only). This makes for a prettier surface and also adds more drape to the fabric.

EHDC (EXTENDED HALF DOUBLE

• On the last round of the yoke, we work 2 increase stitches together. This prevents a gap at the underarm.

nated st and draw up loop, insert hook in next st and draw up loop, ch 1, yo, draw through 4 loops on hook. Note that we don’t make a yo before inserting in the 2nd st to prevent the stitch from getting bulky.

• To simplify the pattern instructions, where possible we use “next st,” instead of spelling out each Ehdc or FLEhdc. Further, after the first few rounds, for the stitches used in the cable, we give only the name of the stitch needed but not where to place it, since all the cabled sts, whether front or back post or Crossed Trebles, always go in the same 6 stitches.

CROCHET) Yo, insert hook in designated st, yo and

draw up loop, ch 1, yo, draw through 3 loops on hook. EHDC2TOG (EXTENDED HALF DOUBLE CROCHET DECREASE) Yo, insert hook in desig-

FLEHDC (FRONT LOOP EXTENDED HALF DOUBLE CROCHET) Work Ehdc in front

loop only. FPEDC (FRONT POST EXTENDED DOUBLE CROCHET) Yo, insert hook from front

to back around post of designated st, yo and draw up loop, ch 1, (yo, draw through 2 loops) twice. INC1 (1 STITCH INCREASE) Work 2 Ehdc in

designated st (or FLEhdc in even-numbered rows). INC2 (DOUBLE INCREASE) Work 3 Ehdc in

designated st (or FLEhdc in even-numbered rows).

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Yoke Ch 84, sl st to first ch to close ring, making sure chain does not twist. RND 1 (RS) Ch 2, Ehdc in each ch around, sl st to top of first st, turn. 84 sts RND 2 Ch 2 (counts as first Ehdc throughout), *BPEdc in next 6 sts (first cable), 3 FLEhdc in next st, FLEhdc in next 4 sts, 3 FLEhdc in next st, BPEdc in next 6 sts (second cable), 2 (3, 3, 3, 3) FLEhdc in next st, FLEhdc in next 8 sts, BPEdc in next 6 sts (third cable), FLEhdc in next 8 sts**, 2 (3, 3, 3, 3) FLEhdc in next st, rep from * to **, completing the next 3 cables, work 1 (2, 2, 2, 2) st(s) in first st of prev rnd (same st as starting ch-2 here and throughout), sl st to top of starting ch 2, turn. Small: 96 sts: 20 hdc on front/back, 10 hdc on each sleeve; 36 sts for cables All other sizes: 100 sts: 22 hdc on front/back, 10 hdc on each sleeve; 36 sts for cables RND 3 Ch 2, 1 (2, 2, 3, 3) Ehdc in same st, *Ehdc in each st to next cable, FPEdc in next 6 sts, Ehdc in each st to one st before next cable, 2 (3, 3, 4, 4) Ehdc in next st, FPEdc in next 6 sts, 3 Ehdc in next st, Ehdc in each st to 1 st before next cable, 3 Ehdc

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in next st, FPEdc in next 6 sts**, 2 (3, 3, 4, 4) Ehdc in next st, rep from * once, ending last rep at **, sl st to top of starting ch-2, turn. Small: 108 sts: 22 hdc on front/back, 14 hdc on each sleeve; 36 sts for cables Medium and Large: 116 sts: 26 hdc on front/back, 14 hdc on each sleeve; 36 sts for cables X-Large and XX-Large: 120 sts: 28 hdc on front/ back, 14 hdc on each sleeve; 36 sts for cables RND 4 Ch 2, *BPEdc in next 6 sts, 3 FLEhdc in next st, FLEhdc in each st across to 1 st before next cable, 3 FLEhdc in next st, BPEdc in next 6 sts, 2 (3, 3, 4, 4) FLEhdc in next st, FLEhdc in each st to next cable, BPEdc in next 6 sts, FLEhdc in each st to 1 st before next cable**, 2 (3, 3, 4, 4) FLEhdc in next st, rep from * to **, work 1 (2, 2, 3, 3) st(s) in first st of prev rnd, sl st to top of starting ch-2, turn. Small: 120 sts: 24 hdc on front/back, 18 hdc on each sleeve; 36 sts for cables Medium and Large: 132 sts: 30 hdc on front/ back, 18 hdc on each sleeve; 36 sts for cables X-Large and XX-Large: 140 sts: 34 hdc on front/ back, 18 hdc on each sleeve; 36 sts for cables

Diagram for Jade Size Medium shown 8

6

4

RIGHT SLEE VE

2

Back B AC K

FFront RONT

1

3

5

7 S I Z E M E D I U M S H OW N

9

SYMBO L KEY RND 5 Ch 2, Ehdc in same st, *Ehdc in each st to

next cable, Crossed Trebles, Ehdc in each st to 1 st before next cable, 2 (3, 3, 3, 3) Ehdc in next st, Crossed Trebles, 3 Ehdc in next st, Ehdc in each st to 1 st before next cable, 3 Ehdc in next st, Crossed Trebles**, 2 (3, 3, 3, 3) Ehdc in next st, rep from * to **, sl st to top of starting ch-2. Small: 132 sts: 26 hdc on front/back, 22 hdc on each sleeve; 36 sts for cables Medium and Large: 148 sts: 34 hdc on front/ back, 22 hdc on each sleeve; 36 sts for cables X-Large and XX-Large: 156 sts: 38 hdc on front/ back, 18 hdc on each sleeve; 36 sts for cables

sl st ch Fl

FPEdc BPEdc

FPtr

st marker

Ehdc

SMALL, LARGE, X-LARGE, AND XX-LARGE ONLY: RND 6 Rep rnd 4.

Small: 144 sts: 28 hdc on front/back, 26 hdc on each sleeve; 36 sts for cables Large: 148 sts: 38 hdc on front/back, 26 hdc on each sleeve; 36 sts for cables X-Large and XX-Large: 176 sts: 44 hdc on front/ back, 26 hdc on each sleeve; 36 sts for cables

105

SMALL ONLY: RND 7 Ch 2, Ehdc in same st, *Ehdc in each st to next

cable, 6 FPEdc, Ehdc in each st to 1 st before next cable, 2 Ehdc in next st, 6 FPEdc, 2 Ehdc in next st, Ehdc in each st to 1 st before next cable, 2 Ehdc in next st, 6 FPEdc**, 2 Ehdc in next st, rep from * to **, sl st to top of starting ch-2, turn. 152 sts: 30 sts on front/back, 28 sts on each sleeve; 36 sts for cables RND 8 Ch 2, *6 BPEdc, 2 FLEhdc in next st, FLEhdc in each st to 1 st before next cable, 2 FLEhdc in next st, 6 BPEdc, 3 FLEhdc in next st, FLEhdc in each st to next cable, 6 BPEdc, FLEhdc in each st to 1 st before cable**, 3 FLEhdc in next st, rep from * to **, 2 FLEhdc in first st of prev rnd, sl st to top of starting ch-2, turn. 164 sts: 34 sts on front/back, 30 sts on each sleeve; 36 sts for cables

MEDIUM ONLY: RND 6 Ch 2, * 6 BPEdc, 3 FLEhdc in next st, FLEhdc

in each st to 1 st before cable, 3 FLEhdc in next st, 6 BPEdc, 3 FLEhdc in next st, FLEhdc in each st to next cable, 6 BPEdc, FLEhdc in each st to 1 st before cable**, 3 FLEhdc in next st, rep from * to **, 2 FLEhdc in first st of prev rnd, sl st to top of starting ch-2, turn. 164 sts: 38 hdc on front/back, 26 hdc on each sleeve; 36 sts for cables RND 7 Ch 2, 2 Ehdc in same st, *Ehdc in each st to next cable, 6 FPEdc, Ehdc in each st to 1 st before next cable, 3 Ehdc in next st, 6 FPEdc, 3 Ehdc in next st, Ehdc in each st to 1 st before next cable, 3 Ehdc in next st, 6 FPEdc**, 3 Ehdc in next st, rep from * to **, sl st to top of starting ch-2, turn. 140 sts: 42 hdc on front/back, 30 hdc on each sleeve; 36 sts for cables RND 8 Ch 2, * 6 BPEdc, 3 FLEhdc in next st, FLEhdc in each st to 1 st before cable, 3 FLEhdc in next st, 6 BPEdc, 2 FLEhdc in next st, FLEhdc in each st to

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P A R T 2 : T h e P AT T e R N S

next cable, 6 BPEdc, FLEhdc in each st to 1 st before next cable**, 2 FLEhdc in next st, rep from * to **, FLEhdc in first st of prev rnd, sl st to top of starting ch-2, turn. 192 sts: 44 sts on front/back, 34 sts on each sleeve; 36 sts for cables

LARGE, X-LARGE, AND XX-LARGE ONLY: RND 7 Ch 2, 2 Ehdc in same st, *Ehdc in each st to

next cable, FPEdc in next 6 sts, Ehdc in each st to 1 st before next cable, 3 Ehdc in next st, 6 FPEdc, 3 Ehdc in next st, Ehdc in each st to 1 st before next cable, 3 Ehdc in next st, 6 FPEdc**, 3 Ehdc in next st, rep from * to **, sl st to top of starting ch-2, turn. Large: 180 sts: 42 hdc on front/back, 30 hdc on each sleeve; 36 sts for cables X-Large and XX-Large: 192 sts: 48 hdc on front/ back, 30 hdc on each sleeve; 36 sts for cables RND 8 Ch 2, *6 BPEdc, 3 FLEhdc in next st, FLEhdc in each st to 1 st before next cable, 3 FLEhdc in next st, 6 BPEdc, (3, 3, 4) FLEhdc in next st, FLEhdc in each st to next cable, 6 BPEdc, FLEhdc in each st to 1 st before next cable**, (3, 3, 4) FLEhdc in next st, rep from * to **, (2, 2, 3) FLEhdc in first st of prev rnd, sl st to top of starting ch-2, turn. Large: 196 sts: 46 hdc on front/back, 34 hdc on each sleeve; 36 sts for cables X-Large: 208 sts: 52 hdc on front/back, 34 hdc on each sleeve; 36 sts for cables XX-Large: 212 sts: 54 hdc on front/back, 34 hdc on each sleeve; 36 sts for cables

ALL SIZES: RND 9 Ch 2, *(Ehdc in each st to next cable, 6

FPEdc) twice, 4 (4, 4, 6, 6) Ehdc in next st, PM between 1st and 2nd (1st and 2nd, 2nd and 3rd, 3rd and 4th, 4th and 5th) sts just made, Ehdc in each st to 1 st before next cable, 4 (4, 4, 6, 6) Ehdc in next st, PM between 3rd and 4th (3rd and 4th, 2nd

and 3rd, 3rd and 4th, 2nd and 3rd) sts just made, 6 FPEdc, rep from * around, sl st to top of starting ch-2, turn. Small: 176 sts: 54 sts on front/back (36 + 18 from cables); 34 sts on each sleeve Medium: 204 sts: 64 sts on front/back (44 + 18 from cables); 38 sts on each sleeve Large: 208 sts: 70 sts on front/back (52 + 18 from cables); 34 sts on each sleeve X-Large: 228 sts: 76 sts on front/back (58 + 18 from cables); 38 sts on each sleeve XX-Large: 232 sts: 78 sts on front/back (60 + 18 from cables); 38 sts on each sleeve Note: Check counts on each side of your markers to be sure they match the numbers above. For the remaining rounds of yoke, remain in pattern and increase as instructed on each side of marker. Move markers between the increase sts each rnd.

SMALL AND MEDIUM ONLY: RND 10 Ch 2, 6 BPEdc, *(FLEhdc across to 1 st before

next M, Inc1 in each of next 2 sts, move M between 2nd and 3rd sts just made) twice, (FLEhdc to next cable**, BPEdc in next 6 sts) 3 times, rep from * around ending final rep at **, sl st to top of starting ch, turn. 184 (212) sts RNDS 11–14 Ch 2, *continue in pattern to 1 st before next M, Inc1 in st before M, Inc1 in st after M, rep from *(working Crossed Trebles in rnd 11), continue in pattern around, sl st to top of starting ch-2, turn. Move M up between increase sts. RND 15 Rep rnd 10. RNDS 16 AND 17 Rep rnd 11. Place working loop on holder, continue to last row of yoke. Small: 260 sts: 70 sts on front/back, 50 sts on each sleeve Medium: 268 sts: 80 sts on front/back, 54 sts on each sleeve

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LARGE ONLY: RND 10 Ch 2, 6 BPEdc, *FLEhdc across to 1 st before

next M, Inc1 in next st, Inc2 in st after M, move M between 2nd and 3rd sts just made, FLEhdc across to st before next M, Inc2 in next st, Inc1 in st after M, move M between 3rd and 4th sts just made, (FLEhdc to next cable**, BPEdc in next 6 sts) 3 times, rep from * around ending final rep at **, sl st to top of starting ch, turn. 220 sts: 74 sts on front/back, 34 sts on each sleeve RNDS 11 AND 12 Ch 2, *continue in pattern (working Crossed Trebles in rnd 11) to 1 st before M, Inc1 in st before M, Inc2 in st after M, move M up, Ehdc to 1 st before next M, Inc2 in next st, Inc1 in st after M, rep from *, continue in pattern around, sl st to top of starting ch-2, turn. 244 sts: 76 sts on front/back, 46 sts on each sleeve RND 13 Ch 2, *continue in pattern to M, Inc1 in st after M, continue in pattern to st before M, Inc1 in st before M, rep from *, continue in pattern around, sl st to top of starting ch-2, turn. 248 sts: 78 sts on front/back, 46 sts on each sleeve RNDS 14–19 Ch 2, *continue in pattern (working Crossed Trebles in rnd 17) to 1 st before M, Inc1 in st before M, Inc1 in st after M, rep from *, continue in pattern around, sl st to top of starting ch-2, turn. 296 sts: 88 sts on front/back, 60 sts on each sleeve Place working loop on holder, continue to last row of yoke.

X-LARGE AND XX-LARGE ONLY: RND 10 Ch 2, 6 BPEdc, *FLEhdc across to 1 st before

next M, Inc1 in next st, Inc2 in st after M, move M between 2nd and 3rd sts just made, FLEhdc across to st before next M, Inc2 in next st, Inc1 in st after M, move M between 3rd and 4th sts just made, (FLEhdc to next cable**, BPEdc in next 6 sts) 3

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P A R T 2 : T h e P AT T e R N S

times, rep from * around ending final rep at **, sl st to top of starting ch, turn. X-Large: 240 sts: 78 sts on front/back, 42 sts on each sleeve XX-Large: 244 sts: 80 sts on front/back, 42 sts on each sleeve RND 11 Ch 2, *continue in pattern (working Crossed Trebles over each group of 6 cable sts) to 1 st before M, Inc1 in st before M, Inc2 in st after M, move M up, Ehdc to 1 st before next M, Inc2 in next st, Inc1 in st after M, move M up, rep from *, continue in pattern around, sl st to top of starting ch-2, turn. X-Large: 252 sts: 80 sts on front/back, 46 sts on each sleeve XX-Large: 256 sts: 82 sts on front/back, 46 sts on each sleeve RNDS (12–19, 12–21) Ch 2, *continue in pattern (working Crossed Trebles on rnd 17) to 1 st before M, Inc1 in st before M, Inc1 in st after M, rep from *, continue in pattern around, sl st to top of starting ch-2, turn. X-Large: 316 sts: 96 sts on front/back, 62 sts on each sleeve XX-Large: 336 sts: 102 sts on front/back, 66 sts on each sleeve Place working loop on holder, continue to last row of yoke.

ALL SIZES: LAST ROW OF YOKE *Continue in pattern to

1 st before M, FLEhdc in st before M, FLEhdc2tog inserting first leg in st just worked and 2nd leg in st after M, move M to st just made, FLEhdc in same st after M, rep from *, continue in pattern around, sl st to top of starting ch-2, turn. Small: 236 sts: 70 sts on front/back, 50 sts on each sleeve Medium: 272 sts: 80 sts on front/back, 54 sts on each sleeve

Large: 300 sts: 88 sts on front/back, 60 sts on each sleeve X-Large: 320 sts: 96 sts on front/back, 62 sts on each sleeve XX-Large: 352 sts: 102 sts on front/back, 66 sts on each sleeve Place working loop on holder.

Body Join yarn in M at back left corner, ch 6 (6, 6, 8, 10), sl st to M at front left, fasten off. Join yarn at M at back right corner, ch 6 (6, 6, 8, 10), sl st to M at front right, fasten off.

Body Row for Crossed Treble

Note: Remember to alternate Ehdc on odd rows and FLEhdc on even rows, and to work Crossed Trebles every 6th row. Crossed Trebles are worked on the following Body rows in each size:

S

M

L

XL

XXL

5

5

3

3

1

11

11

9

9

7

17

17

15

15

13

23

23

21

21

19

29

29

27

27

25

35

35

33

33

31

RND 1 (RS) Pick up loop on holder and turn.

Ehdc in each st and in BL of each ch around and working cables in pattern. Note that XXL should work Crossed Trebles in this rnd. 152 (172, 188, 208, 224) sts RNDS 2–36 Work even in pattern, working Crossed Trebles as indicated in chart above, fasten off. Feel free to work fewer or more rounds to achieve desired length. Model is size Small and has 36 rnds, measuring 141/2" from bottom of armhole.

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Sleeve

RNDS 19–42 (15–42, 15–43, 13–44, 13–44)

With RS facing, join yarn in base ch of 3rd (3rd, 3rd, 4th, 5th) st at underarm. RND 1 Ch 2, Ehdc in unworked loop of each ch and each st around, turn. 56 (60, 66, 70, 76) sts RNDS 2–16 (2–12, 2–12, 2–10, 2–10) Work even in pattern, alternating Ehdc and FLEhdc. RND 17 (13, 13, 11, 11) Ch 2, Ehdc in each st to last 2 sts, Ehdc2tog, sl st to top of starting ch-2, turn. 55 (59, 65, 71, 75) sts RND 18 (14, 14, 12, 12) Ch 2, FLEhdc in each st to last 2 sts, FLEhdc2tog, sl st to top of starting ch-2, turn. 54 (58, 64, 70, 74) sts

Rep last 2 rnds, decreasing 1 st per rnd, ending with 32 (32, 37, 38, 44) sts. Fasten off if sleeve is desired length, or work even until desired length is reached.

Finishing Block garment as needed.

Jade 21˝

1˝ 14 (15, 16½, 16½, 19)˝ 7¼ (7¼, 8, 8, 9)˝

38 (43, 47, 52, 56)˝

16¾

(16

¾,

8 (8, 9, 9½, 11)˝

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P A R T 2 : T h e P AT T e R N S

17¼

, 17

½,

17½

)˝

Magda F I N I S HED MEASUREMENTS Sizes Bust S 36" M 40" L 44" XL 48" XXL 51" YA R N Blue Sky Alpacas Sport Weight, 100% baby alpaca, 110 yds/50 g, 11 (12, 12, 13, 14) balls of Eggplant (512) (For yarn sample, see page 112.) TO O L S US G/6 (4 mm) crochet hook or size needed to obtain correct gauge Four stitch markers G AU GE 7 Ehdc = 2"; 8 rows = 4"

Gauge Swatch Ch 26. ROW 1 Ehdc in 3rd ch from hook and in each ch

across, turn. 24 sts ROW 2 Ch 2, FLEhdc in next 9 hdc, BPEdc in next

6 hdc, FLEhdc in each hdc to end, turn. ROW 3 Ch 2, Ehdc in next 9 hdc, FPEdc in next

6 hdc, Ehdc in each hdc to end, turn. ROW 4 Rep row 2. ROW 5 Ch 2, Ehdc in next 9 hdc, Crossed Trebles,

Ehdc in each hdc to end, turn. ROWS 6–8 Rep rows 2–4. ROWS 9 AND 10 Rep rows 3 and 4.

Special Stitches and Abbreviations BPEDC (BACK POST EXTENDED DOUBLE CROCHET) Yo, insert hook from back to front

around post of designated st, yo and draw up a loop, ch 1, (yo, draw through 2 loops) twice. EHDC (EXTENDED HALF DOUBLE CROCHET) Yo, insert hook in designated st, yo and

draw up loop, ch 1, yo, draw through 3 loops on hook. EHDC2TOG (EXTENDED HALF DOUBLE CROCHET DECREASE) Yo, insert hook in desig-

nated st (both loops in odd-numbered rows or FL in even-numbered rows) and draw up loop, insert hook in next st and draw up loop, ch 1, yo, draw through 4 loops on hook. Note that we don’t make a yo before inserting in the 2nd st, to prevent the stitch from getting bulky. Where you see FLEhdc2tog in instructions, work as desribed here but inserting hook in FL only.

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FLEHDC (FRONT LOOP EXTENDED HALF

FPETR (FRONT POST EXTENDED TREBLE

DOUBLE CROCHET) Work Ehdc in FL only of

CROCHET) Yo twice, insert hook from front to back

designated st.

around post of designated st, yo and draw up loop, ch 1, (yo, draw through 2 loops) 3 times.

FPEDC (FRONT POST EXTENDED DOUBLE CROCHET) Yo, insert hook from front

INC1 (INCREASE 1) Work 2 Ehdc in designated st

to back around post of designated st, yo and draw up loop, ch 1, (yo, draw through 2 loops) twice.

(or FLEhdc in even-numbered rows) INC2 (INCREASE 2) Work 3 Ehdc in designated st (or FLEhdc in even-numbered rows)

Notes • This design has three cables on the back and three on the front. On the back, there is a center cable and a cable on each side — we’ll call them side cables. On the front, the center cable is divided in half, and again there is a cable on each side The raglan increases are placed just before and just after a side cable for several rows at the start. As we work the yoke, we “bend” those cables towards the center of the garment by placing all the increases at the outside edge of the side cables. After that begins (on row 7), we use markers to place increases and count stitches for each section of the garment. • Do pay close attention to the number of stitches added at each increase point, as they change as you work through the yoke. • To help you keep track of stitch counts, in the first 7 rows we give the total stitch counts for each row, and then break down the counts for the back and sleeves, giving only the number of Ehdc, as they are the counts that change. The number of stitches used for each cable will always be 6. The number of Ehdc on the back are on either side of

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the center cable. The number of Ehdc on each front piece is always half the number on the back, but 2 of the front Ehdc are at the edges rather than between cables. • After row 6, we give total stitch counts for each section (front, back, each sleeve), including all cable stitches in the count (18 cable stitches are on the back; 9 are on each front). Use markers as instructed for these rows, but do check counts after completing each section, as the lean of hdc stitches can cause confusion when placing markers. • On the last row of the yoke, we work 2 increase stitches together. This prevents a gap at the underarm. • The body of this jacket has waist shaping at the sides. Markers are used to show where to place decreases and increases for shaping. • The cables consist of 6 stitches, alternating front and back post stitches. Beginning in row 5, every 6th row has Extended Crossed Trebles. These are spelled out in row 5.

Yoke See diagram on page 114. Ch 77. ROW 1 (RS) Ehdc in 3rd ch from hook, Ehdc in each ch across, turn. 76 sts ROW 2 Ch 2 (counts as hdc throughout), FLEhdc in next st, BPEdc in next 3 sts, FLEhdc in next 5 sts, 2 (3, 3, 3, 3) FLEhdc in next st, *BPEdc in next 6 sts, 3 FLEhdc in next st, FLEhdc in next 2 sts, 3 FLEhdc in next st, BPEdc in next 6 sts, 2 (3, 3, 3, 3) FLEhdc in next st**, FLEhdc in next 7 sts, BPEdc in next 6 sts, FLEhdc in next 7 sts, 2 (3, 3, 3, 3) FLEhdc in next st, rep from * to **, FLEhdc in next 5 sts, BPEdc in next 3 sts, FLEhdc in last 2 sts, turn. Small: 88 sts: 18 Ehdc on back, 9 on each front, 8 on each sleeve All other sizes: 92 sts: 20 Ehdc on back, 10 on each front, 8 on each sleeve ROW 3 Ch 2, Ehdc in next st, 3 FPEdc, Ehdc in each st to 1 st before cable, 2 (3, 3, 3, 3) Ehdc in next st, *6 FPEdc, 3 Ehdc in next st, Ehdc in each st to 1 st before next cable, 3 Ehdc in next st, 6 FPEdc, 2 (3, 3, 3, 3) Ehdc in next st**, Ehdc in each st to next cable,

6 FPEdc, Ehdc in each st to 1 st before next cable, 2 (3, 3, 3, 3) Ehdc in next st, 6 FPEdc, rep from * to **, 2 (3, 3, 3, 3) Ehdc in next st, Ehdc in each st to next cable, 3 FPdc, Ehdc in last 2 sts, turn. Small: 100 sts: 20 Ehdc on back, 10 on each front, 12 on each sleeve All other sizes: 108 sts: 24 Ehdc on back, 12 on each front, 12 Ehdc on each sleeve ROW 4 Ch 2, FLEhdc in next st, 3 BPEdc, FLEhdc in each st to 1 st before next cable, 2 (3, 3, 3, 3) FLEhdc in next st, *6 BPdc, 3 FLEhdc in next st, FLEhdc in each st to 1 st before next cable, 3 FLEhdc in next st, 6 BPEdc**, 2 (3, 3, 3, 3) FLEhdc in next st, FLEhdc in each st to next cable, 6 BPEdc, FLEhdc in each st to 1 st before cable, 2 (3, 3, 3, 3) FLEhdc in next st, rep from * to **, 2 (3, 3, 3, 3) FLEhdc in next st, FLEhdc in each st to next cable, 3 BPEdc, FPEhdc in last 2 sts, turn. Small: 122 sts: 22 Ehdc on back, 11 on each front, 16 on each sleeve All other sizes: 124 sts: 28 Ehdc on back, 14 on each front, 16 on each sleeve

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Diagram for Magda Size Medium shown 99

SYMBOL K E Y ch Fl

77

Ehdc FPEdc

55

BPEdc 33 FPEtr 11 st marker

Right RIGHT Sleeve SLEEVE

BACK Back

RIGHT RightFRONT FrontNECK Neck

LeftLEFT F FRONT NECK 1

1

3

3

5

5

7

7

9

9

2

2 44

66

88 SIZE MEDIUM SHOWN

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ROW 5 Ch 2, Ehdc in next st, sk 2 sts, FPEtr in next

st, FPEtr in each sk st, Ehdc in each st to 1 st before next cable, 2 (2, 3, 3, 3) Ehdc in next st, *sk 3 sts, FPEtr in next 3 sts, FPEtr in each sk st, 3 Ehdc in next st, Ehdc in each st to 1 st before next cable, 3 Ehdc in next st, sk 3 sts, FPEtr in next 3 sts, FPEtr in each sk st, 3 Ehdc in next st, Ehdc in each st to next cable, sk 3 sts, FPEtr in next 3 sts, FPEtr in each sk st**, Ehdc in each st to 1 st before cable, 2 (2, 3, 3, 3) Ehdc in next st, rep from * to **, 2 (2, 3, 3, 3) Ehdc in next st, Ehdc in each st to next cable, sk 2 sts, FPEtr in next st, FPEtr in each sk st, Ehdc in last 2 sts, turn. Small: 124 sts: 24 Ehdc on back, 12 on each front, 20 on each sleeve Medium: 136 sts: 30 Ehdc on back, 15 on each front, 20 on each sleeve All other sizes: 140 sts: 32 Ehdc on back, 16 on each front, 20 on each sleeve ROW 6 Ch 2, FLEhdc in next st, 3 BPEdc, FLEhdc in each st to 1 st before next cable, 2 (2, 2, 3, 4) FLEhdc in next st, *6 BPEdc, 3 FLEhdc in next st, FLEhdc in each st to 1 st before next cable, 3 FLEhdc in next st, 6 BPEdc**, 2 (2, 2, 3, 4) FLEhdc in next st, FLEhdc in each st to next cable, 6 BPEdc, FLEhdc in each st to 1 st before next cable, 2 (2, 2, 3, 3) FLEhdc in next st, rep from * to **, 2 FLEhdc in next st, FLEhdc in each st to next cable, 3 BPEdc, FLEhdc in last 2 sts, turn. Small: 136 sts: 26 Ehdc on back, 13 on each front, 24 on each sleeve Medium: 148 sts: 32 Ehdc on back, 16 on each front, 24 on each sleeve Large: 152 sts: 34 Ehdc on back, 17 on each front, 24 on each sleeve X-Large: 156 sts: 36 Ehdc on back, 18 on each front, 24 on each sleeve XX-Large: 160 sts: 38 Ehdc on back, 19 on each front, 24 on each sleeve

ROW 7 Ch 2, Ehdc in next st, 3 FPdc, Ehdc in each st

to next cable, 6 FPEdc, *2 (4, 4, 5, 5) Ehdc in next st, Ehdc in each st to 1 st before cable, 2 (4, 4, 5, 5) Ehdc in next st, 6 FPEdc**, (Ehdc in each st to next cable, 6 FPEdc) twice, rep from * to **, Ehdc in each st to next cable, 3 FPEdc, Ehdc in last 2 sts, turn. 144 (160, 164, 172, 176) sts Small: 26 Ehdc on back, 16 Ehdc on each front, 28 Ehdc on each sleeve Medium: 32 Ehdc on back,19 Ehdc on each front, 30 Ehdc on each sleeve Large: 34 Ehdc on back, 20 Ehdc on each front, 30 Ehdc on each sleeve X-Large: 36 Ehdc on back, 21 Ehdc on each front, 32 Ehdc on each sleeve XX-Large: 38 Ehdc on back, 23 Ehdc on each front, 32 Ehdc on each sleeve

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*Count 23 (26, 27, 29, 30) sts from front edge, PM between this st and next st; beginning at M, count 26 (28, 28, 28, 28) sts, PM between this st and next st. Rep from *, beginning at opposite front edge. You have marked off the following number of stitches: Small: 23 sts on each front, 26 sts on each sleeve, 46 sts on back Medium: 26 sts on each front, 28 sts on each sleeve, 52 sts on back Large: 27 sts on each front, 28 sts on each sleeve, 54 sts on back X-Large: 29 sts on each front, 28 sts on each sleeve, 58 sts on back XX-Large: 30 sts on each front, 28 sts on each sleeve, 60 sts on back From this point on, we will always increase in adjacent Ehdc stitches, one that is at the outside edge of the back or front, and one that is at the outside edge of the sleeves. We call these increase stitches. To keep track of where to place increases, keep the M in between the 2 increase stitches. The numbers for each size are stitch counts for the front, back, and sleeves with total number of stitches in parentheses. ROW 8 Ch 2, FLEhdc in next st, 3 BPEdc, FLEhdc in each st to next cable, 6 BPEdc, *Inc1 in st before M, Inc1 (2, 2, 2, 2) in st after M, move M between increase sts, FLEhdc in each st to 1 st before M, Inc1 (2, 2, 2, 2) in st before M, Inc1 in st after M, move M between increase sts, 6 BPEdc**, (FLEhdc in each st to next cable, 6 BPEdc) twice, rep from * to **, FLEhdc in each st to next cable, 3 BPEdc, FLEhdc in last 2 sts, turn. Small: 24, 48, 28 (152 sts) Medium: 27, 54, 32 (172 sts) Large: 28, 56, 32 (176 sts) X-Large: 30, 60, 32 (184 sts) XX-Large: 31, 62, 32 (192 sts) ROW 9 *Continue in pattern to 1 st before M, Inc1 in st before M, Inc1 (2, 2, 2, 2) in st after M, Ehdc in each st to 1 st before M, Inc1 (2, 2, 2, 2) in st before

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M, Inc1 in st after M**, rep from * to **, continue in pattern to end, turn. Small: 25, 50, 30 (160 sts) Medium: 28, 56, 36 (184 sts) Large: 29, 58, 36 (188 sts) X-Large: 31, 62, 36 (196 sts) XX-Large: 32, 64, 36 (200 sts)

SMALL ONLY: From this point continue in pattern, increasing as instructed below. On row 11, work Extended Crossed Trebles for cable as in row 5. ROWS 10–13 Inc1 on each side of M. St counts for each row are shown as front, back, sleeve: 10: 26, 52, 32 (168 sts) 11: 27, 54, 34 (176 sts) 12: 28, 56, 36 (184 sts) 13: 29, 58, 38 (192 sts) ROWS 14 AND 15 Work even across. Continue to last row of yoke.

MEDIUM, LARGE, X-LARGE, AND XX-LARGE ONLY: Continue in pattern, working Extended Crossed Trebles in Row 11 as in row 5 and increasing as follows: ROWS (10–13, 10–15, 10–16, 10–16) Inc1 in st on each side of each M. St counts for each row are shown as front, back, sleeve: Medium ONLY: 10: 29, 58, 38 (192 sts) 11: 30, 60, 40 (200 sts) 12: 31, 62, 42 (208 sts) 13: 32, 64, 44 (216 sts) ROWS 14 AND 15 Work even across, continue to last row of yoke. Large ONLY: 10: 30, 60, 38 (195 sts) 11: 31, 62, 40 (204 sts) 12: 32, 64, 42 (212 sts) 13: 33, 66, 44 (220 sts)

14: 34, 68, 46 (228 sts) 15: 35, 70, 48 (236 sts) ROWS 16 AND 17 Work even across, continue to last row of yoke. X-Large ONLY: 10: 32, 64, 38 (204 sts) 11: 33, 66, 40 (212 sts) 12: 34, 68, 42 (220 sts) 13: 35, 70, 44 (228 sts) 14: 36, 72, 46 (236 sts) 15: 37, 74, 48 (244 sts) 16: 38, 76, 50 (252 sts) XX-Large: 10: 33, 66, 38 (208 sts) 11: 34, 68, 40 (216 sts) 12: 35, 70, 42 (224 sts) 13: 36, 72, 44 (232 sts) 14: 37, 74, 46 (240 sts) 15: 38, 76, 48 (248 sts) 16: 39, 78, 50 (256 sts)

X-LARGE AND XX-LARGE ONLY: ROW 17 Rep row 16 but working Extended Crossed

Trebles at each cable, as in row 5. X-Large: 39, 78, 52 (260 sts) Continue to last row of yoke. XX-Large: 40, 80, 52 (264 sts)

XX-LARGE ONLY: ROWS 18 AND 19 Work even across.

ALL SIZES:

Body Join yarn at M at back left corner, ch 4 (4, 6, 6, 10), sl st to M at front left, fasten off. Join yarn at M at back right corner, ch 4 (4, 6, 6, 10), sl st to M at front right, fasten off. Note: For Large only, work FPE crossed trebles (as in row 5) in this row. ROW 1 *Continue in pattern, working 1 Ehdc in marked st before underarm chains, Ehdc in BL of each ch, Ehdc in next marked st, rep from * across, continue in pattern to end, turn. Remove markers. 128 (140, 156, 172, 184) sts

LAST ROW OF YOKE *Work in pattern to 1 st

before M, FLEhdc in st before M, Ehdc2tog, inserting first leg in FL of st just worked and 2nd leg in FL of st after M, move M to st just made, FLEhdc in same st after M, rep from * once, continue in pattern around, sl st to top of starting ch-2. 196 (220, 240, 264, 268) sts Place working loop on holder.

The following rows will have Extended Crossed Trebles: Small and Medium: Rows 3, 9, 15, 21, 27 Large: Rows 1, 7, 13, 19, 25, 31 X-Large and XX-Large: Rows 5, 11, 17, 23, 29 ROWS 2–5 Work even in pattern.

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If garment is a good length, fasten off. For size Large, work 1 more row so garment doesn’t end with Extended Crossed Trebles. To make garment longer, see options below.

Optional Continue working even in pattern until desired length is reached, fasten off. or Continue repeating rows 20–23 until desired hip width and desired length are reached. If you reach hip width before reaching desired length, work even for remaining rows. Fasten off when done.

Sleeves Waist Shaping *Count 32 (35, 39, 43, 46) sts from start of row and PM in st. Rep from *, starting at opposite end. ROW 6 * Work in pattern to M, FLEhdc2tog over M and next st, rep from *, continue in pattern to end, turn. Move M to top of dec just worked. Move M to top of dec just worked. 126 (138, 154, 170,182) sts ROW 7 Work even, move M up 1 row. ROW 8 Rep row 6. Move M to top of Ehdc2tog. 124 (136, 152, 168, 180) sts ROW 9 Rep row 7. ROWS 10–15. Rep rows 5 and 6, moving M up each row. 118 (130, 146, 162, 174) sts at end of row 15 ROWS 16–19 Work even in pattern, moving M up each row. ROW 20 Continue in pattern, Inc1 at each M, move M to 2nd st of inc. 120 (132, 148, 164, 176) sts ROW 21 Work even, moving M up each row. ROW 22 Rep row 20, moving M to first st of increase. 122 (134, 150, 166, 178) sts ROW 23 Work even in pattern. ROWS 24–31 Rep rows 20–23 twice. 130 (142, 158, 174, 186) sts

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With WS facing join yarn in base ch of 2nd (2nd, 3rd, 3rd, 5th) st at underarm. RND 1 Ch 2, Ehdc in unworked loop of each ch, FLEhdc in each Ehdc around, Ehdc in each unworked loop of ch, sl st to top of starting ch, turn. 44 (50, 56, 56, 62) sts RND 2 FLEhdc in each st around, sl st to top of starting ch, turn. RND 3 Ch 2, Ehdc in each st around, sl st to top of starting ch, turn. RNDS 4–15 Work even in pattern, alternating Ehdc and FLEhdc. RND 16 Ch 2, FLEhdc in each st to last 2 sts, FLEhdc2tog, sl st to top of starting ch, turn. 43 (49, 55, 55, 61) sts RND 17 Ch 2, Ehdc in each st to last 2 sts, Ehdc2tog, sl st to top of starting ch, turn. 42 (48, 54, 54, 60) sts Rep rnds 16 and 17 until you have 31 (33, 35, 37, 39) sts. Work even until sleeve is desired length. Fasten off.

Finishing Try on jacket and decide where you want the little ties to be. Instructions are for ties as they are on model, but this can easily be changed.

Counting from row 1 at the top of the garment, PM on right front in the first, 10th, and 20th row edge (the last/first st of the row). Mark the same rows on left front. These markers are where you will make little ties, but feel free to change them. Work with one size smaller hook than used in garment. With RS facing, join yarn at bottom right corner on front edge, ch 1. *Work 2 sc in each edge st (the last/first st in each row), enclosing entire post of st in the sc, to first M. Work 1 sc in marked st, ch 13, turn, sl st in 2nd ch from hook and in each ch just made, sc in same marked st (little tie made). Rep from * to next M twice. Continue working 2 sc in each edge st to neckline.

Turn work so you can work along neckline edge, inserting hook into base ch of sts and working 2 sc in first st (to turn corner), then 1 sc in each st around neckline to last st of neckline, 2 sc in last st. Now work the left front edge in the same way as you did the right, working little ties in the same rows where they were worked on the right, and 2 sc in each edge st, to the bottom of the garment. Fasten off. To tighten neckline if desired, work an additional row of slip stitches around neckline only, using one size smaller hook than used to make garment. Don’t pull the slip stitches too tight, and try it on when you’re half done to see if it’s working. If it needs further tightening, see page 54. Block garment as needed.

Magda 22˝

1˝ 12½ (14¼, 16, 16, 17¾)˝

8 (8, 9, 9, 9)˝

36½ (40, 44 ½, 49, 52½)˝ 7½˝ underarm to waist

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ROSINA

ISABEL

Rosina and Isabel STITCH NERDS will enjoy the Peacock Fan stitch

featured in these yokes, as well as a unique treble stitch pattern employed in the body of this pair. Peacock Fans require 13 double treble stitches, making a big, broad pattern that’s both pretty and powerful. Rosina is playful, with short sleeves and a length extending midway down the thigh, while Isabel’s sleeves sport Peacock Fans to add to its wow factor.

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Isabel has a pretty lace sleeve and is hip length. Rosina is styled as a loose layering piece, with a deeper opening at the armhole. It is made with a very soft, airy wool fingering-weight yarn with just a little fuzz. The loose spin of the yarn contributes to its fluid drape. Compare it to the crisper, smooth cotton used for Isabel, where you can see more stitch definition. This 100 percent cotton yarn is much softer and more flexible than most,

making it a real find, especially because it’s reasonably priced. Whenever a large pattern repeat like the Peacock Fan is used in a garment, there are fewer options for sizing. When sizing a pattern, pattern repeats must be added in multiples of 2 — one for the front and one for the back — and each time you add a fan, you’ve gained more than 21/2 inches. That makes the sizes farther apart than for most patterns. Still, the easygoing flow in these garments makes both adaptable to a range of bodies, with anywhere from 2 to 6 inches of ease. Much depends on the drape of your fabric, and that in turn is influenced by the fibers in the yarn. The more fluid the fabric, the more ease you can have in the garment. If you are working with a somewhat stiffer fabric, I would advise 1 to 3 inches of ease at the bust. As for the garment’s length, think about how you might want to wear it: Over a skirt? Or slacks, or leggings? To accompany the Peacock Fans on the yoke I wanted a more solid fabric for the body. I discovered that double treble stitches on a slant are more closed than if the stitches are parallel. The slant is achieved by increasing and decreasing within the row. This way, you get a more solid fabric, the great drape that’s possible with taller stitches, and best of all, the work goes quickly — which is why I kept going with Rosina until she reached thigh length. Of course, you can stop at whatever length you like. Underneath these garments, for Rosina I’d choose a little exercise bra or a close-fitting tee; for Isabel a close-fitting halter out of silk or similarly shiny fabric, in a neutral color.

Here are the steps involved in making the double treble stitch (dtr): yo 3 times, insert hook in designated st, yo and draw up loop, (yo, draw through 2 loops) 3 times, yo, draw through 4 loops on hook. When I get to the part that’s in bold above, I pull the loop up very tall with the hook. At the same time, I pull down at the bottom of the stitch with the thumb and third finger of my other hand. This permits me to draw up the height of the stitch while avoiding too much slack in the yarn. The tops of these stitches tend to enlarge, but this technique keeps that to a minimum. You may still find the tops stretch out a bit, and that’s okay. Beyond executing the double trebles, the technical demands on this yoke are about understanding the increase pattern and marking pattern repeats accurately, all of which are detailed in the instructions. You may need a wet blocking to open up the lace and make it more legible and crisp. That means you want to block your swatch and make sure you know what your pre- and post-blocking gauge should be — see Blocking Your Swatch (page 33) for more details. Many fingering-weight yarns and some on the heavy side of lace weight can be worked at the given gauges for these garments. As you can see, a bold stitch like this reads well with either a smooth or a textured yarn, so choose the look you prefer.

The very tall stitches used in this pair are great for practicing how to regulate your tension. You may experience the problem of too much slack in the yarn as you work off multiple yarnovers. Let me share my technique for controlling this.

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Rosina FIN ISHED MEASU REMEN T S Sizes Bust S 38" M 40" L 48" XL 50" YARN Fibra Natura Whisper Lace, 70% wool/30% silk, 440 yds/50 g, 3 (3, 3, 3) balls of Tango (113) (For yarn sample, see page 121.) TOOL S US D/3 (3.25 mm) crochet hook or size needed to obtain correct gauge Eight stitch markers GAU GE FOR YOKE: 2 pattern reps in Peacock Fans

pattern = 51/2", 4 rows in Peacock Fans pattern = 2¼" FOR BODY: 16 sts = 4"; 4 rows = 3"

Notes • The center stitch of the Peacock Fan, consisting of 13 stitches, is the 7th double treble stitch. After making Inc2, you will have 4 fans that are 9 stitches instead of 13. Where this occurs, the center stitch is the 5th double treble. • In round 3 we add 4 fans, one at each raglan increase point. This means that half of the fan is added to the body (either front or back), and the other half is added to one sleeve. Since we add half a fan on either side of each section, one full fan is added to the stitch count. • Note that there are no turns at the ends of rounds. Because of this, we mark the first stitch of each increase to signal where the next increase will begin. Follow the instructions and mark stitches as you work each increase. When the instructions say to “move M up one row,” it means the marker should be placed in the stitch that is worked into the marked stitch.

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Gauge Swatch This gauge swatch is for the stitch pattern on the Yoke. For pattern used on Body, you can simply check gauge as you work round 1 of Body. Ch 25. ROW 1 Sc in 2nd ch from hook, *sk 5 ch, 13 dtr in next ch, sk 5 ch, sc in next ch, rep from * across, turn. 2 pattern reps ROW 2 Ch 5, dtr in first sc, *ch 5, sc in 7th dtr of fan, ch

5**, V-st in next sc, rep from * to **, 2 dtr in last sc, turn. ROW 3 Ch 1, sc in first dtr, 13 dtr in next sc, sc in next

ch-1 sp of V-st, 13 dtr in next sc, sc in tch, turn. ROW 4 Rep row 2, fasten off.

Special Stitches and Abbreviations DTR (DOUBLE TREBLE) Yo 3 times, insert hook

in designated st, yo and draw up loop, (yo, draw through 2 loops) 4 times. DTR3TOG (WORK 3 DOUBLE TREBLE STITCHES TOGETHER) [Yo 3 times, insert hook

in designated st or sp, yo and draw up loop, (yo, draw through 2 loops) 3 times] 3 times, yo, draw through 4 loops on hook. Note that parentheses spell out where to insert hook for each leg of this st. INC1 (Dtr, ch 1) 4 times in designated st, dtr in same

st. PM in first dtr of increase. INC2 Sc in first dtr, PM in sc just made, sk (ch 1, dtr,

ch 1), 9 dtr in next dtr, sk (ch 1, dtr, ch 1), sc in next dtr. INC3 Sc in marked st, PM in sc just made, sk (ch 1, dtr, ch 1), 13 dtr in next dtr, sk (ch 1, dtr, ch 1), sc in next dtr. V-ST (dtr, ch 1, dtr) in designated st.

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rep from * to next M, Inc2 beginning in marked st, PM in sc just made, rep from * around, ending last rep at **, sl st to starting sc. (8 markers at end of this rnd) 16 fans: 4 on front/back, 4 on each sleeve

SMALL AND MEDIUM ONLY: RND 4 Ch 6, dtr in first sc, *ch 5, sc in center dtr of

Yoke Ch 144. RND 1 Sc in 2nd ch from hook, *sk 5 ch, 13 dtr in next

ch (fan made), sk 5 ch**, sc in next ch, rep from * around, ending last rep at **, sl st to top of starting sc. Counting from start of rnd, PM in 2nd, 5th, 8th, and 11th sc. (4 markers) 12 fans: 3 on front/back, 3 on each sleeve RND 2 Ch 6 (counts as dtr, ch 1 throughout), dtr in first sc, ch 5, sc in center dtr of fan, ch 5, Inc1 beginning in marked st, ch 5, *V-st in next sc, ch 5, sc in center dtr of fan, ch 5**, rep from * to next M, Inc1 beginning in marked st, rep from * around, ending last rep at **, sl st to 5th ch of starting ch. In the next rnd we add 4 more markers by placing a marker in the sc stitches at both the beginning and ends of Inc2. RND 3 Sl st to next ch-1 sp, ch 1, sc in same ch-1 sp, 13 dtr in next sc, Inc2 beginning at M, PM in sc just made *13 dtr in next sc**, sc in ch-1 sp of next V-st,

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fan, ch 5, V-st in next sc, rep from * around, sl st to 5th ch of starting ch. Move M up to ch-1 sp of V-sts worked into marked st. RND 5 Sl st to next ch-1 sp, ch 1, *sc in same ch-1 sp, 13 dtr in next sc, sc in ch-1 sp of next V-st, rep from * around, sl st to starting sc. Move M up one row. RND 6 Ch 6, dtr in first sc, ch 5, sc in center dtr of fan, ch 5, Inc1 beginning at marked st, ch 5, sc in center dtr of fan, ch 5, Inc1 beginning in marked st, *sc in center dtr of fan, ch 5, V-st in next sc, rep from * to next M, Inc1 beginning in marked st, ch 5, sc in center dtr of fan, ch 5, Inc1 beginning in marked st, rep from * around, continue in pattern to end of rnd, sl st to 5th ch of starting ch. In the next rnd, instead of placing markers in first sc of Inc3, place markers as instructed below: RND 7 Sl st to next ch-1 sp, ch 1, sc in same ch-1 sp, 13 dtr in next sc, * Inc3 beg in marked st, 13 dtr in next sc, PM in center dtr of fan just made, Inc3 beg in marked st**, continue in pattern to next M, rep from * to ** 3 more times, continue in pattern to end of rnd, sl st to top of starting sc. 24 fans: 6 on front/back, 6 on each sleeve

LARGE AND X-LARGE ONLY: RND 4 Ch 6, dtr in first sc, ch 5, sc in center dtr of fan,

ch 5, Inc1 beginning at marked st, ch 5, sc in center dtr of fan, ch 5, Inc1 beginning at marked st, *sc in center dtr of fan, ch 5, V-st in next sc, rep from * to next M, Inc1 beginning at marked st, ch 5, sc in center dtr of fan, ch 5, Inc1 beginning at M, rep from * around, continue in pattern to end of rnd, sl st to 5th ch of starting ch.

B AC K SIZES SM ALL AND MEDIUM

6

5 4 Inc3 Inc2 3 Inc1

2

RIGHT SLEE VE

1

SYMBOL K E Y ch sc

Diagram shows beginnings and ends of rounds and raglan increases.

dtr FRONT

ROSINA AND ISABeL

125

F I R S T R O U N D O F R O S I N A B O DY, S I Z E S M E D I U M A N D L A R G E

SYMBOL K E Y ch rnd 1 (body) last rnd of yoke

126

sc

dtr

RND 5 Sl st to next ch-1 sp, ch 1, sc in same ch-1 sp,

ALL SIZES:

(13 dtr in next sc, Inc3 beginning at M) twice, *13 dtr in next sc, sc in ch-1 sp of next V-st, rep from * to next M, (13 dtr in next sc, Inc3 beg in marked st) twice, rep from * around, continue in pattern to end of rnd, sl st to top of starting sc. Remove the 2nd, 3rd, 6th, and 7th markers, leaving 4 markers in work. 24 fans: 6 on front/back, 6 on each sleeve In the next 2 rnds increases are made on body but not sleeves. RND 6 Ch 6, dtr in first sc, ch 5, sc in center dtr of fan, ch 5, Inc1 beginning in marked st, continue in pattern around, working Inc1 in each marked st, sl st to 5th ch of starting ch. In the next rnd, instead of placing marker in first sc of Inc3, place markers as instructed below, in the center of a fan. RND 7 Sl st to ch-1 sp, ch 1, sc in same ch-1 sp, 13 dtr in next sc, * Inc3 beginning at M, remove M, 13 dtr in next sc, PM in center dtr of fan just made, (sc in next ch-1 sp, 13 dtr in next sc) 6 times, PM in center dtr of fan just made, sc in next ch-1 sp, 13 dtr in next sc, Inc3 beginning in marked st, 13 dtr in next sc**, continue in pattern to next M, rep from * to **, continue in pattern to end of rnd, sl st to top of starting sc. (4 markers at end of this rnd) 28 fans: 8 on front/back, 6 on each sleeve

RND 8 Ch 6, dtr in first sc, ch 5, sc in center dtr of

P A R T 2 : T h e P AT T e R N S

fan, ch 5, V-st in next sc, continue in pattern to M, *ch 6 (10, 6, 10), sk all sleeve sts, sc in next marked st, (ch 5, V-st in next sc, ch 5, sc in center dtr of next fan) across until sc is worked in next marked st, rep from * once, continue in pattern around, sl st to 5th ch of starting ch. Remove all markers.

Body RND 1 Sl st to ch-1 sp, ch 5, 2 dtr in same ch-1 sp,

*(dtr3tog, 3 dtr) in next ch-5 sp, dtr3tog placing (first dtr in same ch-5 sp, next dtr in next sc**, next dtr in next ch-5 sp), 3 dtr in same ch-5 sp as last leg of dtr3tog, dtr3tog in same ch-5 sp, sk next dtr, 3 dtr in next ch-1 sp, rep from *, ending last rep before underarm ch (at **), place last leg of dtr3tog in ch-6 (ch-10, ch-6, ch-10) sp, (3 dtr, dtr3tog) 1 (2, 1, 2) time(s) in same ch-sp, 3 dtr in same ch-sp, dtr3tog placing (first dtr in same ch-sp, next dtr in next sc, next dtr in next ch-5 sp), 3 dtr in same ch-5 sp, dtr3tog in same ch-5 sp***, sk next dtr, 3 dtr in next ch-1 sp, rep from * ending last rep at ***, sl st to top of starting ch-5. 160 (168, 208, 216) sts

Finishing

RND 2 Sl st to next dtr, ch 5, 2 dtr in same dtr,

Block garment as needed.

*dtr3tog over (next dtr, dtr3tog, next dtr), 3 dtr in next dtr, rep from * around, dtr3tog over (next dtr, dtr3tog, ch 5), sl st to top of starting ch-5. Rep rnd 2 until length from start of Body measures approximately 14" or desired length, fasten off.

Rosina 25˝

4˝

17½˝

8½˝

5˝

34 (35, 44, 45)˝

40 (42, 52, 54)˝

ROSINA AND ISABeL

127

Isabel FIN ISHED MEASU REMEN T S Sizes Bust S/M 381/2" L 491/2" XL 55" YARN Bio Sesia 5, 100% organic cotton, 196 yds/50 g, 6 (8, 10) balls of Midnight (2562) (For yarn sample, see page 121.) TOOL S US D/3 (3.25 mm) crochet hook or size needed to obtain gauge Eight stitch markers GAU GE For Yoke: 2 pattern reps in Peacock Fans stitch = 51/2"; 4 rows/rnds in pattern = 21/2" For Body: 16 sts = 4"; 4 rows = 3"

Gauge Swatch This gauge swatch is for the Peacock Fans stitch pattern on the Yoke. For pattern used on Body, you can simply check gauge as you work round 1 of Body. Ch 25. ROW 1 Sc in 2nd ch from hook, *sk 5 ch, 13 dtr in next ch (fan made), sk 5 ch, sc in next ch, rep from * across. 2 pattern reps ROW 2 Ch 5 (counts as dtr), dtr in first sc, *ch 5, sc in

7th dtr of fan, ch 5**, (dtr, ch 1, dtr) in next sc, rep from * to **, 2 dtr in last sc, turn. ROW 3 Ch 1, sc in first dtr, 13 dtr in next sc, sc in next

ch-1 sp between dtr, 13 dtr in next sc, sc in tch, turn. ROW 4 Rep row 2.

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P A R T 2 : T h e P AT T e R N S

Notes • There are no turns at the ends of rounds. • When the instructions say to “move M up one row” it means the marker should be placed in the stitch that is worked into the marked stitch. For example, in round 4, the marker moves to the ch-1 space of the V-stitch. • We use the term fan to make it easy to count pattern repeats. The full pattern repeat includes the fan and the sc just before it.

Special Stitches and Abbreviations DTR (DOUBLE TREBLE) Yo 3 times, insert

hook in designated st, yo and draw up loop, (yo, draw through 2 loops) 4 times. DTR3TOG (WORK 3 DOUBLE TREBLE STITCHES TOGETHER) [Yo 3 times, insert hook

in designated st or sp, yo and draw up loop, (yo, draw through 2 loops) 3 times] 3 times, yo draw through 4 loops on hook. Note that parentheses spell out where to insert hook for each leg of this st. INC1 (INCREASE 1) (Dtr, ch 1) 4 times in desig-

nated st, dtr in same st. PM in first dtr of this increase. INC2 (INCREASE 2) Sc in first dtr, PM in sc just

made, sk (ch 1, dtr, ch 1), 13 dtr in next dtr, sk (ch 1, dtr, ch 1), sc in next dtr. V-ST (Dtr, ch 1, dtr) in designated st.

Yoke Ch 121, sl st to close ring. RND 1 (RS) Sc in 2nd ch from hook, *sk 5 ch, 13 dtr in next ch (fan made), sk 5 ch**, sc in next ch, rep from * around ending last rep at **, sl st to top of starting sc. 10 fans: 3 on front/back, 2 on each sleeve

Counting from start of rnd, PM in 2nd, 4th, 7th, and 9th sc. RND 2 Ch 6 (counts as dtr, ch 1 throughout), dtr in first sc, ch 5, sc in center dtr of fan, ch 5, Inc1 in marked st, ch 5, *V-st in next sc, ch 5, sc in center dtr of fan, ch 5**, rep from * to next marked st, Inc1 in marked st, rep from * around ending last rep at **, sl st to 5th ch of starting ch. RND 3 Sl st to next ch-1 sp, ch 1, sc in same ch-1 sp, 13 dtr in next sc, Inc2 beginning at M, *13 dtr in next sc**, sc in ch-1 sp of next V-st, rep from * to next M, Inc2 beginning at M, rep from * around ending last rep at **, sl st to starting sc. 14 fans: 4 on front/back, 3 on each sleeve RND 4 Ch 6, dtr in first sc, ch 5, sc in center dtr of fan, ch 5, V-st in next sc, continue in pattern around, moving M up to ch-1 sp of V-st.

ROSINA AND ISABeL

129

We will place 4 additional markers in this rnd: RND 5 Sl st to next ch-1 sp, ch 1, sc in same ch-1 sp, 13 dtr in next sc, *sc in marked st, move M to sc just made, 13 dtr in next sc, sc in next ch-1 sp, PM in sc just made**, continue in pattern to next M, rep from * around ending last rep at **, continue in pattern to end, sl st to top of starting sc. (8 markers at end of this rnd) RND 6 Ch 6, dtr in first sc, ch 5, (sc in center dtr of fan, ch 5, Inc1 beginning at marked stitch, ch 5) twice, *sc in center dtr of fan, ch 5, V-st in next sc, ch 5**, rep from * to M, Inc1 in marked st, ch 5, sc in center dtr of fan, ch 5, Inc1, ch 5) twice, rep from * around ending last rep at **, sl st to 5th ch of starting ch. RND 7 Sl st to next ch-1 sp, ch 1, sc in same ch-1 sp, 13 dtr in next sc, *Inc2 beginning at marked st, continue in pattern to next marked st, rep from *, continue in pattern to end of rnd, sl st to top of starting sc. 22 fans: 6 on front/back, 5 on each sleeve

SMALL/MEDIUM ONLY: Remove all markers. RNDS 8 AND 9 Work even in pattern around. Place working loop on safety pin. Continue to Body.

LARGE AND X-LARGE ONLY: Remove 2nd, 3rd, 6th, and 7th markers. RNDS 8 AND 9 Rep rnds 6 and 7. Note that

instructions are the same, but since you have only 4 markers, there will be increases on body and not sleeve. 26 fans: 8 on front/back, 5 on each sleeve RNDS 10 AND 11 (10–13) Work even in pattern around. Place working loop on safety pin. Continue to Body.

Body To place markers, look at round 2 of work, where Inc1 was made at 4 points. You will see that there are now Peacock Fans that line up with this increase in all the subsequent odd-numbered rounds. On the last round worked, PM in the center dtr of the fans on these 4 increase points. The markers show the boundaries of the front, back and two sleeves. Since they are each at the center of a fan, one half of that fan is allotted to the sleeve, the other to the front or back. Counting the two half-fans as one, you should have: Small/Medium: 6 fans on front/back, 5 on each sleeve Large and X-Large: 8 fans on front/back, 5 on each sleeve Join yarn at first marked st, ch 11 (11, 23), sl st to next marked st. Rep on opposite side.

SMALL/MEDIUM AND LARGE ONLY: RND 1 (WS) Ch 6, dtr in first sc, ch 5, sc in center

dtr of fan, *ch 5, V-st in next sc, continue in pattern around placing sc in marked st, ch 5, sk 5 ch at underarm ch, V-st in next ch, PM in base ch of V-st just worked, ch 5, sk 5 ch, sc in next marked st, rep from * once, continue in pattern around, sl st to 5th ch of starting ch, sl st to next ch-1 sp. Do not remove M, as they serve as a reference for sleeves. (6 markers) 14 (18) pattern reps consisting of (V-st, ch 5, sc, ch 5)

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P A R T 2 : T h e P AT T e R N S

RNDS 1 AND 2 OF SLEE VE , SIZES SM ALL , MEDIUM , AND L ARGE

R N D S 1 A N D 2 O F B O DY, S I Z E S S M A L L , MEDIUM , AND L ARGE

Rnd 2 (sleeve)

Rnd 2 (body)

Rnd 1 (sleeve)

Rnd 1 (body)

underarm chains

underarm chains

Body sts

S Y M B O L KE Y ch

X-LARGE ONLY:

dtr

dtr of fan, *ch 5, V-st in next sc, continue in pattern around, placing sc in marked st, ch 5, sk 5 ch at underarm, V-st in next ch, PM in base ch of V-st just worked, ch 5, sk 5 ch, sc in next ch, ch 5, sk 5 ch, V-st in next ch, ch 5, sk 5 ch, sc in next marked st, rep from * once, continue in pattern around, sl st to 5th ch of starting ch, sl st to next ch-1 sp. Do not remove M, as they serve as a reference for sleeves. (6 markers) 20 pattern reps consisting of (V-st, ch 5, sc, ch 5)

ALL SIZES: RND 2 Ch 5, dtr in same ch-1 sp, *(dtr3tog, 3 dtr) in

next ch-5 sp, dtr3tog, placing (first dtr in same ch-5 sp, next dtr in next sc, next dtr in next ch-5 sp), 3 dtr in same ch-5 sp as last leg of dtr3tog, dtr3tog in same ch-5 sp, sk next dtr**, 3 dtr in next ch-1 sp, rep from *, ending last rep at **, dtr in beginning ch-1 sp, sl st to top of starting ch. 168 (216, 240) dtr RND 3 Ch 5, dtr in same dtr, *dtr3tog over (next dtr, dtr3tog, next dtr), 3 dtr in next dtr, rep from * around, dtr3tog over (next dtr, dtr3tog, ch 5), dtr in same st as starting ch 5, sl st to top of starting ch. Rep rnd 3 until body is desired length. Model (Small/ Medium size) has 18 rounds and measures 15" from first rnd of Body.

dtr3tog

sc

RND 1 (WS) Ch 6, dtr in first sc, ch 5, sc in center

Sleeve SMALL/MEDIUM AND LARGE ONLY: With RS facing, join yarn at underarm in marked base ch of V-st. RND 1 Ch 6, dtr in same ch (counts as V-st) ch 5, sc in center dtr of next fan (this is the marked st where underarm chain is attached) *ch 5, V-st in next sc, ch 5, sc in center dtr of next fan, rep from * around, placing last (last, last, 2nd-to-last) sc in marked st where the opposite end of underarm chains is attached, ch 5, sl st to 5th ch of starting ch. 6 pattern reps consisting of (V-st, ch 5, sc, ch 5)

X-LARGE ONLY: With RS facing, join yarn in marked base ch of V-st at underarm. RND 1 Ch 6, dtr in same ch (counts as V-st), ch 5, sc in center dtr of next fan (this is the marked st where underarm chains attached), *ch 5, V-st in next sc, ch 5, sc in center dtr of next fan, rep from * around, placing 2nd-to-last sc in marked st where the opposite end of underarm chains is attached, ch 5, sk 5 chs, V-st in next ch, ch 5, sk 5 ch, sc in next st, ch 5, sl st to 5th ch of starting ch. 7 pattern reps consisting of (V-st, ch 5, sc, ch 5)

ROSINA AND ISABeL

131

ALL SIZES: RND 2 Ch 1, sc in same ch-1 sp, *13 dtr in next sc, sc in

next ch-1 sp, rep from * around. Continue in pattern until sleeve is desired length. Model has 17 rounds, measuring 101/2" from rnd 1 of sleeve. Rep on opposite sleeve.

Finishing Block garment as needed.

Isabel 27½˝

16½ (16½, 19¼)˝

2¾˝

5½ (7, 8)˝

38½ (49½, 55)˝

132

42 (54, 60)˝ P A R T 2 : T h e P AT T e R N S

GENEVIEVE

ZORA

Genevieve and Zora A SIMPLE BACKGROUND of V-stitches is punctuated by eight lace panels in these two circular designs. Zora has an open neck, elbowlength sleeves, and an understated elegance that will turn a casual outfit into something special. The extra lace details at the collar and cuffs on Genevieve provide a touch of class.

While exploring circular style, I had the idea of contrasting a simple background with bold lace panels, making increases in the background stitches as the lace panels move apart on the yoke. To obtain an almost solid fabric as a background for the lace, I chose a simple but unusual V-stitch and textured yarns that fill in the spaces between stitches. Yet the fabric is not really solid, so it moves and hangs well.

133

Genevieve is made with a lovely blend of linen, silk, and alpaca, an intriguing combination of soft yet sturdy fibers that feels like a dream on the skin. Zora uses a wool and acrylic blend yarn with similar texture and a bit more heft. The design would also look very pretty in a yarn with less texture, resulting in a lacier, more open effect. Zora is a simple, versatile classic with a wide, deep neck and elbow-length sleeves. It can be styled as a close-fitting top with just a touch of ease, or made to fall loosely with up to 4 inches of ease over the bust. The same flexibility applies to Genevieve’s fit. I filled in Genevieve’s open neck with a bit of lace that echoes the lace panels on the body, and put it at the bottom of the sleeves as well. Amazing how much attitude a little lace gives a garment, isn’t it? Ready to show up anywhere.

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P A R T 2 : T h e P AT T e R N S

This design has eight lace panels and eight increase panels. The upside-down V-stitch, which consists of 2 double crochet stitches that are worked together, provides a neat way to increase in the panels between the lace. When working the stitch even, rows of upsidedown Vs alternate with rows of right-side-up Vs. The right-side-up Vs use the same stitch, but with a double crochet stitch at each end. Increasing happens when you make 2 rows of right-side-up Vs consecutively, which yields an increase of one V in that panel. As with all the patterns, be sure to count stitches at the end of each round, making sure your V-stitch panels increase as intended. If for no other reason than to fully grasp the stitch pattern, I recommend that you make a practice swatch. Plus, since blocking a lace garment is a fine thing to do, you need a swatch to block first. Blocking really opens up the stitches and will make the lace panels clear and crisp. Practicing on a swatch, complete with pinning, is a perfect exercise if you haven’t wet blocked a garment before. With some yarns, you might need to steam block only. Consult Blocking Your Garment (page 37), think about which method suits your choice of yarn, and try it on a swatch before you work the garment, to be sure you can work to the gauge given in the pattern.

Genevieve FIN ISHED MEASU REMEN T S Sizes Bust S 381/2" M 42" L 461/2" XL 52" YARN Skacel HiKoo Rylie, 50% baby alpaca/25% mulberry silk/25% linen, 274 yds/ 100 g, 4 (4, 5, 5, 6) skeins of Abalone (093) (For yarn sample, see page 136.) TOOL S US E/4 (3.5 mm) crochet hook or size needed to obtain correct gauge Six stitch markers, two of which are different from the others GAU GE In pattern, 9 (dc2tog, ch 1) = 4"; 7 rnds = 31/2"

To create a look similar to that shown here, choose a yarn in the sport- to DK-weight range with some fuzz and texture. The lovely sheen you see on Genevieve and the beautifully blended colors of Zora are bonus qualities to look for in your yarn if you can find them.

GeNeVIeVe AND ZORA

135

Gauge Swatch

Special Stitches and Abbreviations

Note: Pattern is slightly different when worked flat, as there is a dc st at each end. First 4 ch of row 1 count as (dc, ch 1).

DC2TOG (DOUBLE CROCHET 2 TOGETHER) (Yo, insert hook in indicated st or sp,

Ch 23.

yo and draw up loop, yo, draw through 2 loops) twice, yo, draw through 3 loops on hook.

ROW 1 Dc2tog over (5th ch from hook, sk next ch,

END DC2TOG Yo, insert hook in last dc2tog and

next ch), ch 1, * [dc2tog over (same ch, sk next ch, next ch), ch 1] 8 times, dc in last ch, turn. 9 upside-down Vs, 2 dc sts

draw up loop, yo, draw through 2 loops, with 2 loops on hook sl st to 3rd ch of starting ch, draw loop through 2 loops on hook. This turns the initial ch-4 of the round into the second leg of a dc2tog and ch-1.

ROW 2 Ch 3, dc in first dc2tog, [ch 1, dc2tog over

LACE INSERT 1 (3 sc, ch 3, 3 sc) in ch-3 sp of Lace

(same dc2tog, next dc2tog)] 8 times, ch 1, dc in 3rd ch of tch, turn. 9 right-side-up Vs, 2 dc sts

Insert.

ROW 3 Ch 4, dc2tog over (next dc, next dc2tog),

LACE INSERT 2 (Dc2tog, ch 2, sc, ch 3, sc, ch 2,

ch 1, [dc2tog over (same dc2tog, next dc2tog), ch 1] seven times, dc2tog over (same dc2tog, next dc), ch 1, dc in top of tch, turn.

dc2tog) in ch-3 sp of Lace Insert.

ROWS 4–7 Rep rows 2 and 3.

Notes • This design has 8 panels of V stitches divided by 8 panels of Lace Inserts. • All rounds use dc2tog to create the V shape; in some rounds there is a dc stitch at the start and end of the V panel, making them right-side-up Vs. Rounds that don’t have the dc at each end of the panel are upside-down Vs. right-sideup Vs upsidedown Vs

• The easiest way to count stitches for this design is to count the Vs. On some rounds we will count

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P A R T 2 : T h e P AT T e R N S

upside-down Vs, on others right-side-up Vs. We give the number of Vs between Lace Inserts to help you keep track of how many Vs there should be in each round. • In order to avoid having rounds end in a Lace Insert at center back, rounds begin and end in the middle of a V-panel on back. All rounds begin with a ch-4 followed by a dc2tog with the first leg worked into the 3rd chain of the tch. • The End dc2tog turns the initial ch-4 into the 2nd leg of a dc2tog plus a ch-1. • Where pattern says to work into “same” ch, dc, or dc2tog, insert hook in same ch, dc, or dc2tog just worked.

B AC K

6 5 4 3 2 1

SYMBO L KEY sl st

sc

dc2tog

ch

dc

End dc2tog

Yoke Ch 96, being careful not to twist, sl st to close ring. RND 1 (RS) Ch 4, dc2tog over (first ch, sk next ch, next ch), ch 1, dc in same ch, *ch 1, sk 2 ch, (sc, ch 3, sc) in next ch, ch 1, sk 2 ch, dc in next ch, ch 1**, [dc2tog over (same ch, sk next ch, next ch), ch 1] 3 times, dc in same ch, rep from * 7 times, ending last rep at **, dc2tog over (same ch, sk next ch, next ch), ch 1, End dc2tog, turn. 32 Vs (4 right-side-up Vs in each panel), 8 Lace Inserts

RND 3 (INCREASE RND, RIGHT-SIDE-UP

RND 2 (INCREASE RND, RIGHT-SIDE-UP

RND 4 (NO INCREASE, UPSIDE-DOWN

VS) Ch 4, dc2tog over (same dc2tog, next dc2tog), ch 1, *dc2tog over (same dc2tog, next dc), ch 1, dc in same dc, ch 1, Lace Insert 1 in next ch-3 sp, ch 1, dc in next dc, ch 1, dc2tog over (same dc, next dc2tog), ch 1**, [dc2tog over (same dc2tog, next dc2tog, ch 1)] 2 times, rep from * around, ending last rep at **, End dc2tog, turn. 40 Vs (5 right-side-up Vs in each panel), 8 Lace Inserts

VS) Ch 4, [dc2tog over (same dc2tog, next dc2tog), ch 1, *dc2tog over (same dc2tog, next dc), dc in same dc, ch 1, Lace Insert 2, ch 1, dc in next dc, ch 1, dc2tog over (same dc, next dc2tog), ch 1**, [dc2tog over (same dc2tog, next dc2tog), ch 1] 3 times, rep from * around, ending last rep at **, dc2tog over (same dc2tog, last dc2tog), ch 1, End dc2tog, turn. 48 Vs (6 right-side-up Vs in each panel), 8 Lace Inserts VS) Ch 4, [dc2tog over (same dc2tog, next dc2tog), ch 1] twice, *dc2tog over (same dc2tog, next dc), ch 2, Lace Insert 1, ch 2, dc2tog over (next dc, next dc2tog), ch 1**, [dc2tog over (same dc2tog, next dc2tog), ch 1] 4 times, rep from *, ending last rep at **, dc2tog over (same dc2tog, last dc2tog), ch 1, End dc2tog, turn. RND 5 (NO INCREASE, RIGHT-SIDE-UP VS) Ch 4, [dc2tog over (same dc2tog, next dc2tog), ch 1] twice, *dc in same dc2tog, ch 1, Lace Insert 2, ch 1, dc in next dc2tog, ch 1** [ dc2tog over (same dc2tog, next dc2tog), ch 1] 5 times, rep from * around, ending last rep at **, dc2tog over (same dc2tog, last dc2tog), ch 1, End dc2tog, turn. GeNeVIeVe AND ZORA

137

across to next Last Insert, working last dc2tog over (dc2tog, last dc), ch 1, rep from * around, ending last rep at **, dc2tog over (same dc, next dc2tog), ch 1, [dc2tog over (same dc2tog, next dc2tog), ch 1] twice, End dc2tog, turn. 64 Vs (8 right-side-up Vs in each panel), 8 Lace Inserts RND 8 (INCREASE RND, RIGHT-SIDE-UP VS) Ch 4, [dc2tog over (same dc2tog, next

dc2tog), ch 1] 4 times, *dc in same dc2tog, ch 2, Lace Insert 1, ch 2, dc in next dc, ch 1**, dc2tog over (same dc, next dc2tog), ch 1, (dc2tog, ch 1) across to next Lace Insert, working last dc2tog over (dc2tog, next dc), ch 1, rep from * around, ending last rep at **, dc2tog over (same dc, next d2tog), ch 1, dc2tog over (same dc2tog, next dc2tog), ch 1] 3 times, End dc2tog, turn. 72 Vs (9 right-side-up Vs in each panel), 8 Lace Inserts RND 9 (INCREASE RND, RIGHT-SIDE-UP VS) Ch 4, *[dc2tog over (same dc2tog, next

RND 6 (INCREASE RND, RIGHT-SIDE-UP VS) Ch 4, [dc2tog over (same dc2tog, next dc2tog), ch 1] 3 times, * dc in same dc2tog, ch 2, Lace insert 1, ch 2, dc in next dc, ch 1**, dc2tog over (same dc, next dc2tog), ch 1, (dc2tog, ch 1) across to next Lace Insert, working last dc2tog over (dc2tog, last dc), ch 1, rep from * around, ending last rep at **, dc2tog over (same dc, next dc2tog), ch 1, dc2tog over (same dc2tog, last dc2tog), ch 1, End dc2tog, turn. 56 Vs (7 right-side-up Vs in each panel), 8 Lace Inserts RND 7 (INCREASE RND, RIGHT-SIDE-UP VS) Ch 4, [dc2tog over (same dc2tog, next

dc2tog), ch 1] 3 times, * dc in same dc2tog, ch 1, Lace Insert 2, ch 1, dc in next dc, ch 1**, dc2tog over (same dc, next dc2tog), ch 1, (dc2tog, ch 1)

138

P A R T 2 : T h e P AT T e R N S

dc2tog), ch 1] 5 times, dc in same dc2tog, ch 1, Lace Insert 2, ch 1, dc in next dc, ch 1**, dc2tog over (same dc, next dc2tog), ch 1, (dc2tog, ch 1) across to next Lace Insert, working last dc2tog over (dc2tog, next dc), ch 1, rep from * around, ending last rep at **, dc2tog over (same dc, next dc2tog), ch 1, [dc2tog over (same dc2tog, next dc2tog)] 4 times, ch 1, End dc2tog, turn. 80 Vs (10 right-side-up Vs in each panel), 8 Lace Inserts RNDS 10-12 (10–14, 10–16, 10–18) Continue in pattern, working increase rnds and right-side-up Vs, always placing a dc at the beginning and end of each V-panel, and alternating Lace insert 1 and Lace Insert 2. 104 (128, 136, 152) Vs (13 (15, 17, 19) rightside-up Vs in each panel), 8 Lace Inserts RND 13 (15, 17, 19) (NO INCREASE, UPSIDE-DOWN VS) Ch 4, *[dc2tog over (same dc2tog, next dc2tog), ch 1] across to next Lace

markers for sizes S, M, L markers for size XL

How to place markers

Insert, working last dc2tog over (next dc2tog, next dc), ch 2, Lace Insert 1, ch 2, dc2tog over (next dc, next dc2tog), rep from * around, (dc2tog, ch 1) to last dc2tog, End dc2tog, turn. 13 (15, 17, 19) upside-down Vs in each panel RND 14 (16, 18, 20) (NO INCREASE, RIGHT-SIDE-UP VS) Ch 4, *(dc2tog, ch 1) to

next Lace Insert, dc in same dc2tog, ch 2, Lace Insert 1, ch 2, dc in next dc2tog, ch 1, rep from * around, (dc2tog, ch 1) to last dc2tog, End dc2tog, turn. 13 (15, 17, 19) right-side up Vs in each panel RNDS 15 AND 16 (17 AND 18, 19 AND 20, 21 AND 22) Rep last 2 rnds, place working loop on holder, continue to body.

Body UNDERARM CHAINS Rounds begin and end on back of garment. Back of garment will include the center Lace Insert, and the Lace Inserts to the right and left of center, plus the panel of Vs on either side of the center, plus 2 (2, 2, 3) more Vs from the next V-panel on each side. To mark these, use the four markers that are alike. Lay yoke down with back facing. Beginning at the Lace

Insert to the right of the center, place marker in 2nd (2nd, 2nd, 3rd) dc2tog. Now beginning at the Lace Insert to the left of center Lace Insert, place marker in 2nd (2nd, 2nd, 3rd) dc2tog. Turn garment so front is facing and rep from *. With RS facing join yarn in back right marked stitch, ch 7 (7, 9, 9), sl st to front right marked stitch, fasten off. Join yarn in back left marked stitch, ch 7 (7, 9, 9), sl st to front left marked stitch. All rounds are worked even on body, alternating upside-down Vs and right-side-up Vs, and Lace Inserts 1 and 2. Always ch 1 before and after Lace Insert 2, ch 2 before and after Lace Insert 1. When working into chains in next rnd, insert hook in back loop only. You will work into the unworked front loop when beginning sleeve. RND 1 (UPSIDE-DOWN VS) Ch 4, *(dc2tog, ch 1) across to next Lace Insert, ch 1, Lace Insert 2, ch 1, (dc2tog, ch 1) across to marked st, dc2tog over marked st, sk next ch, next ch), ch 1, [dc2tog over (same ch, sk next ch, next ch), ch 1] 1 (1, 2, 2) time(s), dc2tog over (same ch, sk next ch, next marked st), rep from * to last dc2tog of rnd, End dc2tog, turn.

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Do not remove markers, as they will be used as reference when working first row of sleeves. Place the distinct marker in 4th (4th, 5th, 5th) underarm ch, to be used as reference for joining yarn at start of sleeve. Small: 66 Vs (13 Vs in 2 center panels of front and back, 7 Vs in each side panel) Medium: 76 Vs (15 Vs in 2 center panels of front and back, 8 Vs in each side panel) Large: 84 Vs (17 Vs in 2 center panels of front and back, 8 Vs in each side panel) X-Large: 96 Vs (19 Vs in 2 center panels of front and back, 10 Vs in each side panel) RND 2 (RIGHT-SIDE-UP VS) Ch 4, *(dc2tog, ch 1) across to next Lace Insert, *dc in last dc2tog before Lace Insert, ch 2, Lace Insert 1, ch 2, dc in next dc2tog, ch 1, continue in pattern to next Lace Insert, rep from * around, continue in pattern to end of rnd, End dc2tog, turn. RND 3 Ch 4, *(dc2tog, ch 1) across to next Lace Insert, working last dc2tog over (dc2tog, dc), ch 1, Lace Insert 2, ch 1, rep from * around, continue in pattern to end of rnd, End dc2tog, turn. Rep rnds 2 and 3 until work measures 16" from start of body or desired length. Model has 32 rnds on body. working into underarm chains body sts

dc2tog over (next marked st, sk next ch at underarm, next ch), dc2tog over (same ch, sk next ch, next ch) 0 (0, 1, 1) time(s), End dc2tog. 26 (32, 35, 37) upside-down Vs plus 1 Lace Insert Small and Medium only: RNDS 2–18 (2–8) Continuing to alternate upsidedown Vs over Vs (as on body) and Lace Panel 1 with Lace Panel 2, work even. Large and X-Large only: RND 2 Continue in pattern, working right-side-up Vs and Lace Panel 2.

SLEEVE SHAPING RND 19 (9, 3, 3) Work in pattern to 2 ch-1 sps

before tch, yo, insert hook in next dc2tog, yo, draw up loop, yo, draw through 2 loops, yo, insert hook in next dc2tog, yo, draw up loop, yo, draw through 2 loops, with 3 loops on hook sl st in 3rd ch of tch, draw loop through 3 loops on hook (decrease made), turn. 25(31, 34, 36) Vs RND 20 (10, 4, 4) Work even in pattern, turn. RND 21 (11, 5, 5) [Ch 2, (dc, ch 1) in next dc2tog] (counts as first dc2tog, decrease made), ch 1, dc2tog over (same dc, next dc2tog), continue in pattern around, ch 1, sl st to top of first dc, turn. 24 (30, 33, 35) Vs

SMALL ONLY: RND 22 Work even in pattern. RNDS 23–25 Rep rnds 19–21. 23 Vs

are worked

ALL OTHER SIZES: RND (12, 6, 6) Work even in pattern, turn. sleeve sts

MEDIUM ONLY:

Sleeves With RS facing, join yarn in distinct marked ch at underarm. RND 1 Ch 4, dc2tog over (same ch, sk next ch, next ch), ch 1, dc2tog over (same ch, sk next ch, next marked st), continue in pattern around sleeve,

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RNDS 13–24 Rep rnds 9–11 three times. 24 Vs RND 25 Rep rnd 9. 23 Vs

LARGE ONLY: RNDS 7–22 Rep rnds 3–6 five times. 25 Vs RNDS 23–25 Rep rnds 3–5. 23 Vs

X-LARGE ONLY: RNDS 7–21 Rep rnds 3–6 five times. 27 Vs RND 22–25 Rep rnd 3. 23 Vs

ALL SIZES: Work even in pattern till sleeve is 41/2" from desired length. Lace cuff adds 41/2" to length. Last rnd should have Lace Insert 1.

LACE CUFF To shape the cuff, we gradually remove chains from the pattern repeat, which consists of dc2tog and Lace Inserts 1 and 2, alternating as before (refer to the diagram below). The remaining rounds are worked without turning at ends of rounds. RND 1 Ch 2, dc in same st (counts as dc2tog for remaining rnds), *ch 2, sk 2 Vs, Lace Insert 2 in ch-1 sp of next V, ch 2, sk 2 Vs, dc2tog in ch-1 sp of next V, ch 2, sk 2 Vs, Lace Insert 2 in ch-1 sp of next V, ch 2**, sk 2 Vs, dc2tog in ch-2 sp before Lace Insert, ch 2, Lace Insert 2 in ch-3 sp, ch 2, dc2tog in next ch-2 sp, rep from * to **, sl st to top of starting dc2tog, do not turn. 5 Lace Inserts and 5 dc2tog RND 2 Ch 2, dc in same st, *ch 2, Lace Insert 1 in ch-3 sp of Lace Insert 2, ch 2**, dc2tog in next dc2tog, rep from * around, ending last rep at **, sl st to top of starting dc2tog. RNDS 3 Ch 2, dc in same st, *ch 2, Lace Insert 2 in ch-3 sp of Lace Insert 1, ch 2**, dc2tog in next

dc2tog, rep from * around, ending last rep at **, sl st to top of starting dc2tog. RND 4 Rep rnd 2. RND 5 Ch 2, dc in same st, *ch 1, Lace Insert 2 in ch-3 sp of Lace Insert 1, ch 1**, dc2tog in dc2tog, rep from * around, ending last rep at **, sl st to top of starting dc2tog. RND 6 Ch 2, dc in same st, *ch 1, Lace Insert 1 in ch-3 sp of Lace Insert 2, ch 1, dc2tog in dc2tog, rep from * around, ending last rep at**, sl st to top of starting dc2tog. RNDS 7 AND 8 Rep rnds 5 and 6. RND 9 Ch 2, dc in same st, *Lace Insert 2 in ch-3 sp of Lace Insert 1**, dc2tog in dc2tog, rep from * around, ending last rep at ** sl st to top of starting dc2tog. RND 10 Ch 2, dc in same st, *Lace Insert 1 in ch-sp of Lace Insert 2**, dc2tog in dc2tog, rep from * around, ending last rep at **, sl st to top of starting dc2tog.

Neck Edging You will be working into the base chain of the first round of stitches. Take a good look to see if you can identify the individual stitches and chains that are at their base, keeping in mind that when making the first round, we skipped a chain between dc2tog, and skipped 2 chains before and after each Lace Insert. As you work the first round below, count every base chain as one stitch. Round 1 below includes adjustments so that the pattern repeat can be worked.

3 2 1

last rnd of sleeve before cuff

LACE CUFF

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With RS facing, join yarn in any dc2tog on back. RND 1 Ch 2, dc in same st (counts as dc2tog), [ch 2, sk 3 sts, (dc2tog, ch 2, sc, ch 3) in next ch, (sc, ch 2, dc2tog) in next ch, ch 2, sk 3 sts, dc2tog in next st] 4 times, **ch 2, sk 2 sts (dc2tog, ch 2, sc, ch 3) in next ch, (sc, ch 2, dc2tog) in next ch, ch 2, sk 2 sts***, dc2tog in next st, rep from ** and *** once, rep between [ ] 5 times, rep from ** and *** once, sl st in first dc2tog, do not turn here or at the end of any rnd. 11 pattern reps

RND 2 Ch 2, dc in same st, *ch 2, Lace Insert 1 in ch-3

sp, ch 2, dc2tog in next dc2tog, rep from * around, sl st to top of first dc2tog. RND 3 Ch 2, dc in same st, *ch 1, Lace Insert 2 in ch-3 sp, ch 1, dc2tog in dc2tog, rep from * around, sl st to top of first dc2tog. RND 4 Ch 2, dc in same st, *ch 1, Lace Insert 1 in ch-3 sp, ch 1, dc2tog in dc2tog, rep from * around, sl st to top of first dc2tog. RND 5 Ch 2, dc in same st, *Lace Insert 2 in ch-3 sp, dc2tog in dc2tog, rep from * around, sl st to top of first dc2tog, fasten off.

Genevieve 20˝ Neck with edging

13 (15¾, 17, 18)˝ 8 (9, 10, 11)˝

38½ (42, 46½, 52)˝ ff

ce cu

La 4½˝

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Zora F I N I S HED MEASUREMENTS Sizes Bust S 36" M 41" L 48" XL 51" YA R N Universal Yarns Infusion Handpaints, 50% acrylic/50% superwash wool, 291 yds/100 g, 3, (3, 4, 5) balls of Purple Magic (114) (For yarn sample, see page 147.) TO O L S US F/5 (3.75 mm) crochet hook or size needed to obtain correct gauge Two stitch markers G AU GE 4 Vs (8 sts) = 2"; 4 rows/rnds in pattern = 2"

Notes • This design has eight panels of V-stitches divided by eight panels of Lace Inserts. • All rounds use dc2tog to create the V shape; in some rounds there is a dc stitch at the start and end of the V panel, making them right-side-up Vs. Rounds that don’t have the dc at each end of the panel are upside-down Vs. right-sideup Vs upsidedown Vs

• The easiest way to count stitches for this design is to count the Vs. On some rounds we will count upside-down Vs, on others right-side-up Vs. We give the number of Vs between Lace Inserts to help you keep track of how many Vs there should be in each round. • Rounds begin and end in the V panel on the back. All rounds begin with a ch-4 followed by a dc2tog, with the first leg worked into the 3rd ch of the tch. • The End dc2tog turns the initial ch-4 into the second leg of a dc2tog plus a ch-1. • Where the pattern says to work into the “same” chain, dc, or dc2tog, insert hook in same stitch as last chain, dc, or dc2tog worked.

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Gauge Swatch Note: Pattern is slightly different when worked flat, as there is a dc st at each end. Note that first 4 chains of row 1 count as (dc, ch 1). Ch 16. ROW 1 Dc2tog over (5th ch from hook, sk next ch,

next ch), ch 1, * [dc2tog over (same ch, sk next ch, next ch), ch 1] 8 times, dc in last ch, turn. 5 upside-down Vs, 2 dcs ROW 2 Ch 3, dc in first dc2tog, ch 1, [dc2tog over

(same dc2tog, next dc2tog) ch 1] 4 times dc in 3rd ch of tch, turn urn. 5 right-side-up Vs, 2 dcs ROWS 3 Ch 4, dc2tog over (next dc, next dc2tog),

ch 1, [dc2tog over (same dc2tog, next dc2tog), ch 1] 3 times, dc2tog over (same dc2tog, next dc), ch 1, dc in top of tch, turn. ROWS 4 AND 5 Rep rows 2 and 3. Fasten off.

Special Stitches and Abbreviations DC2TOG (DOUBLE CROCHET 2 TOGETHER) (Yo, insert hook in designated st or sp,

yo and draw up loop, yo, draw through 2 loops) twice, yo, draw through 3 loops on hook. END DC2TOG Yo, insert hook in last dc2tog and

draw up loop, yo, draw through 2 loops, with 2 loops on hook sl st to 3rd ch of starting ch, draw loop through 2 loops on hook. This turns the initial ch-4 of the round into the second leg of a dc2tog and ch-1. LACE INSERT 1 (3 sc, ch 3, 3 sc) in ch-3 sp of Lace

Insert. LACE INSERT 2 (Dc2tog, ch 2, sc, ch 3, sc, ch 2,

dc2tog) in ch-3 sp of Lace Insert.

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Note: The stitch diagram for Genevieve on page 137 shows you how the stitches fit together (although precise counts are not the same).

Yoke Ch 96, sl st to close ring. RND 1 (RS) Ch 4, dc2tog over (same ch, sk next ch, next ch), ch 1, dc in same ch, *ch 1, sk 2 ch, (sc, ch 3, sc) in next ch, ch 1, sk 2 ch, dc in next ch, ch 1**, [dc2tog over (same ch, sk next ch, next ch), ch 1] 3 times, dc in same ch, rep from * 7 times, ending last rep at **, dc2tog over (same ch, sk next ch, next ch), ch 1, End dc2tog, turn. 32 Vs (4 right-side-up Vs in each each panel), 8 Lace Inserts RND 2 (INCREASE RND, RIGHT-SIDE-UP VS) Ch 4, dc2tog over (same dc2tog, next dc2tog),

ch 1, *dc2tog over (same dc2tog, next dc), ch 1, dc in same dc, ch 1, Lace Insert 1 in next ch-3 sp, ch 1, dc in next dc, ch 1, dc2tog over (same dc, next dc2tog), ch 1**, [dc2tog over (same dc2tog, next dc2tog, ch 1] 2 times, rep from * around, ending last rep at **, End dc2tog, turn. 40 Vs (5 right-side-up Vs in each panel), 8 Lace Inserts RND 3 (INCREASE RND, RIGHT-SIDE-UP VS) Ch 4, dc2tog over (same dc2tog, next dc2tog),

ch 1, *dc2tog over (same dc2tog, next dc), dc in same dc, ch 1, Lace Insert 2, ch 1, dc in next dc, ch 1, dc2tog over (same dc, next dc2tog), ch 1**, [dc2tog over (same dc2tog, next dc2tog), ch 1] 3 times, rep from * around ending last rep at **, dc2tog over (same dc2tog, last dc2tog), ch 1, End dc2tog, turn. 48 Vs (6 right-side-up Vs in each panel), 8 Lace Inserts RND 4 (NO INCREASE, UPSIDE-DOWN VS) Ch 4, [dc2tog over (same dc2tog, next

dc2tog), ch 1] twice, *dc2tog over (same dc2tog, next dc), ch 2, Lace Insert 1, ch 2, dc2tog over (next dc, next dc2tog), ch 1**, [dc2tog over (same dc2tog, next dc2tog), ch 1] 4 times, rep from *, ending last rep at **, dc2tog over (same dc2tog, next dc2tog), ch 1, End dc2tog, turn.

RND 5 (NO INCREASE, RIGHT-SIDE-UP VS) Ch 4, [dc2tog over (same dc2tog, next dc2tog), ch 1] twice, *dc in same dc2tog, ch 1, Lace Insert 2, ch 1, dc in next dc2tog, ch 1**, [dc2tog over (same dc2tog, next dc2tog, ch 1] 5 times, rep from * around ending last rep at **, dc2tog over (same dc2tog, next dc2tog), ch 1, End dc2tog, turn. RND 6 (INCREASE RND, RIGHT-SIDE-UP VS) Ch 4, [dc2tog over (same dc2tog, next dc2tog),

ch 1] 3 times, *dc in same dc2tog, ch 2, Lace insert 1, ch 2, dc in next dc, ch 1**, dc2tog over (same dc, next dc2tog), ch 1, (dc2tog, ch 1) across to next Lace Insert, working last dc2tog over (dc2tog, last dc), ch 1, rep from * around, ending last rep at **, dc2tog over (same dc, next dc2tog), ch 1, dc2tog over (same dc2tog, next dc2tog), ch 1, End dc2tog, turn. 56 Vs (7 right-side-up Vs in each panel), 8 Lace Inserts RND 7 (INCREASE RND, RIGHT-SIDE-UP VS) Ch 4, *[dc2tog over (same dc2tog, next dc2tog), ch 1] 3 times, dc in same dc2tog, ch 1, Lace Insert 2, ch 1, dc in next dc, ch 1**, dc2tog over (same dc, next dc2tog), ch 1, (dc2tog, ch 1) across to next Lace Insert, working last dc2tog over (dc2tog, last dc), ch 1, rep from * around, ending last rep at **, dc2tog over (same dc, next dc2tog), ch 1, [dc2tog over (same dc2tog, next dc2tog), ch 1] twice, End dc2tog, turn. 64 Vs (8 right-side-up Vs in each panel), 8 Lace Inserts RND 8 (INCREASE RND, RIGHT-SIDE-UP VS) Ch 4, *[dc2tog over (same dc2tog, next dc2tog), ch 1] 4 times, dc in same dc2tog, ch 2, Lace Insert 1, ch 2, dc in next dc, ch 1**, dc2tog over (same dc, next dc2tog), ch 1, (dc2tog, ch 1) across to next Lace Insert, working last dc2tog over (dc2tog, last dc), ch 1, rep from * around, ending last rep at **, dc2tog over (same dc, next d2tog), ch 1, [dc2tog over (same dc2tog, next dc2tog), ch 1] 3 times, End dc2tog, turn. 72 Vs (9 right-side-up Vs in each panel), 8 Lace Inserts

RND 9 (INCREASE RND, RIGHT-SIDE-UP VS) Ch 4, *[dc2tog over (same dc2tog, next dc2tog), ch 1] 5 times, dc in same dc2tog, ch 1, Lace Insert 2, ch 1, dc in next dc, ch 1**, dc2tog over (same dc, next dc2tog), ch 1, (dc2tog, ch 1) across to next Lace Insert, working last dc2tog over (dc2tog, last dc), ch 1, rep from * around, ending last rep at **, dc2tog over (same dc, next dc2tog), ch 1, [dc2tog over (same dc2tog, next dc2tog) 4 times, ch 1], End dc2tog, turn. 80 Vs (10 right-side-up Vs in each panel), 8 Lace Inserts RND 10 (NO INCREASE, UPSIDE-DOWN VS) Ch 4, *[dc2tog over (same dc2tog, next dc2tog), ch 1] across to next Lace Insert, working last dc2tog over (dc2tog, dc), ch 2, Lace Insert 1, ch 2, dc2tog over (next dc, next dc2tog), rep from * around, (dc2tog, ch 1) to last dc2tog, End dc2tog, turn. RND 11 (NO INCREASE, RIGHT-SIDE-UP VS) Ch 4, *(dc2tog, ch 1) to next Lace Insert, dc

in same dc2tog, ch 1, Lace insert 2, ch 1, dc in next dc2tog, ch 1, rep from * around, (dc2tog, ch 1) to last dc2tog, End dc2tog, turn. RNDS 12 (12–14, 12–15, 12–17) Continue in pattern, working increase rnds and right-side-up Vs, always placing a dc at the beginning and end of each V panel, and alternating Lace Insert 1 and Lace Insert 2. [88 (104, 112, 128) Vs 11 (13, 14, 16) in each panel]. Place loop on holder, continue to Body.

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Body Place yoke so that the point where rnds begin and end is at center of back. Now fold the yoke in half, so you have 4 lace panels on the front and 4 on the back. The front will include the center panel of Vs, plus the 2 lace panels on either side of it, plus 8 (10, 11, 12) more Vs on the panels to the left and right of the center V panel. On panel to the left of center V panel, count out 8 (10, 11, 12) dc2tog from center, PM in this dc2tog. Rep on V panel to the right of center V panel. This should leave 3 (3, 3, 4) Vs remaining on each of side panels, which will go on sleeve. Join yarn at back right marked st, ch 5 (3, 5, 7), sl st to front right marked st, fasten off. Rep on left side. When working into ch in next rnd, insert hook in BL and bump for more stability. You will work into the unworked FL when beginning sleeve.

markers for size S markers for size M markers for size L markers for size XL

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How to place markers

SMALL ONLY: RND 1 (RS) (UPSIDE-DOWN V) Ch 4, *[dc2tog

over (same dc2tog, next dc2tog), ch 1] across to next Lace Insert, working last dc2tog over (dc2tog, dc), ch 1, Lace Insert 2, ch 1, dc2tog over (next dc, next dc2tog), rep from * to underarm ch, work next dc2tog over (marked st, sk next ch, next ch), ch 1, dc2tog over (same ch, sk next ch, next ch), dc2tog over (same ch, sk next ch, next marked st), rep from * once, [dc2tog over (same dc2tog, next dc2tog), ch 1] across to last dc2tog, End dc2tog, turn. 60 upside-down Vs and 4 lace panels Leave in all markers to be used as reference when working Sleeves. RND 2 Continue in pattern, working right-side-up Vs and (ch 2, Lace Insert 1, ch 2) around. RND 3 Continue in pattern, working upside-down Vs and (ch 1, Lace Insert 2, ch 1) around.

MEDIUM ONLY: RND 1 (RS) (UPSIDE-DOWN V) Ch 4,

*[dc2tog over (same dc2tog, next dc2tog)**, ch 1], across to next Lace Insert, working last dc2tog over (dc2tog, dc), ch 1, Lace Insert 2, ch 1, dc2tog over (next dc, next dc2tog), rep from * to underarm ch, work next dc2tog over (marked st, sk next ch, next ch), ch 1, dc2tog over (same ch, next marked st), rep from * once, [dc2tog over (same dc2tog, next dc2tog, ch 1) across to end of rnd, End dc2tog, turn. 70 upside-down Vs and 4 lace panels RND 2 Continue in pattern, working right-side-up Vs and (ch 2, Lace Insert 1, ch 2) around. RND 3 Continue in pattern, working upside-down Vs and (ch 1, Lace Insert 2, ch 1) around.

LARGE AND X-LARGE ONLY: RND 1 (WS) (UPSIDE-DOWN V) Ch 4, *dc2tog

dc2tog over (marked st, sk next ch, next ch), [ch 1, dc2tog over (same ch, sk next ch, next ch)] 1 (2) times, ch 1, dc2tog over (same ch, next marked st), rep from * once, [dc2tog over (same dc2tog, next dc2tog, ch 1) across to last dc2tog, End dc2tog, turn. 84 (90) upside-down Vs and 4 lace panels RND 2 Continue in pattern, working right-side-up Vs and (ch 1, Lace Insert 2, ch 1) around. RND 3 Continue in pattern, working upside-down Vs and (ch 2, Lace Insert 1, ch 2) around.

ALL SIZES: Rep rnds 2 and 3 to desired length. Model is Large size, with 28 rnds on body, measuring 14" from start of Body.

over (same dc2tog, next dc2tog)**, ch 1, across to next Lace Insert, working last dc2tog over (dc2tog, dc), ch 1, Lace Insert 2, ch 1, dc2tog over (next dc, next dc2tog), rep from * to underarm ch, work next

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Sleeves

Lace Insert 1, ch 1, dc in next dc2tog, dc2tog over (same dc2tog, next dc2tog) continue in pattern to last dc2tog, End dc2tog, turn. RND 3 Ch 4, dc2tog over (same dc2tog, next dc2tog), ch 1, continue in pattern working upsidedown Vs to Lace Insert, ch 2, Lace Insert 2, ch 2, continue in pattern to last dc2tog, End dc2tog, turn. RNDS 4–15 Repeat rnds 2 and 3. To adjust sleeve length as desired, work more or fewer rnds. If you’d like full-length sleeves, refer to pages 51–53 for detailed instructions.

Join yarn in marked st at front right, where the first group of underarm ch begins. RND 1 Ch 4, *dc2tog over (marked st, sk next ch, next ch), ch 1, dc2tog over (same ch, sk next ch, next ch) 1 (0, 1, 2) time(s), dc2tog over (same ch, sk next ch, next marked st**, continue in pattern working upside-down Vs and Lace Insert 2 as in rnd 1 of Body and working from * to ** into underarm ch on left, continue in pattern to last dc2tog, End dc2tog, turn. 20, (21, 23, 29) upside-down Vs RND 2 Ch 4, dc2tog over (same dc2tog, next dc2tog), ch 1, continue in pattern working right-side-up Vs to Lace Insert, dc in last dc2tog before Lace Insert, ch 1,

Finishing Block garment as needed.

Zora 25˝

2˝

6 (7, 7½, 8)˝ 13 (13½, 14½, 17½)˝

36 (40, 44, 48, 52)˝

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NANETTE

ERDE

Nanette and Erde A SPECIAL KIND OF FABRIC — lacy, yet dimensional and amazingly fluid — emerges from the Crossed Treble stitches in these garments, one a hiplength pullover and the other a short jacket. Erde has an open neck and three-quarter sleeves and will work beautifully with just a little ease or quite a bit. Nanette is cropped and slightly boxy, the perfect complement to a slinky top peeking through from underneath.

I used to fear that two layers of stitches, as occurs when stitches are crossed, would make fabric too stiff for garments. But after experimenting with very flexible yarns like the ones used in these designs, I saw how stretchy and loose a fabric of crossed stitches can be. This stitch is a real winner for beauty, texture, and great drape and flexibility.

149

To get this marvelous drape, it’s important to work the crossed stitches loosely. They need nice long legs to stretch over the distance they cover. If worked too tightly, they will pucker the fabric, and that’s not a pretty sight. Check row gauge carefully to insure that you’re allowing the tall stitches to really lengthen out. Crossed and cabled stitches require several crochet maneuvers that one doesn’t encounter elsewhere: working in front of or behind other stitches. One must also pay close attention to identifying the stitch where you will insert the hook. Take a leisurely read of All about Crossed Stitches on page 152, and please do some practicing if these moves are unfamiliar to you. These are great stitches for finessing your control of tension, because they just won’t work unless you maintain flexible tension as you go. For those who want to polish this skill and make ever prettier stitches, these crossed stitches, along with the Peacock Fans in Rosina and Isabel, make for great swatching exercises. Erde is made with a fabulous alpaca-blend yarn that I highly recommend. It feels like a dream on the skin and is light and airy, yet warm. A pretty camisole in black or pink would look quite elegant underneath. This design can work many ways with regard to silhouette: close fitting with just an inch of ease, or slightly roomier with 2 to 3 inches of ease, or even more if you want to swish into a room, provided you get a fabric that’s as floaty as shown here. Erde would also lengthen out to a tunic or dress beautifully, and you might go up a hook size to accommodate the hips, if necessary. Since the stitch pattern resists fine shaping, I went down a hook size for the bottom portion of the sleeve, rather than complicating the simplicity of this sweater with intricate shaping. There is surely a way to decrease 1 or 2 stitches at a time with crossed stitches, if you want to explore making longer sleeves that shape to the wrist.

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P A R T 2 : T h e P AT T e R N S

Nanette owes its personality to a yarn with lots of pizzazz, a blend of cotton and synthetics with a tightly coiled inner strand encircled by fuzz and sparkle, all in joyous spring colors. Use your imagination to substitute other fun yarns, such as mohair or another slightly fuzzy yarn, maybe mixed with a strand of gold or silver thread. Compared to Erde, the pattern repeat in Nanette is large, since the yarn is thicker. Just as in the Peacock Fan designs, this limits the number of different sizes the pattern offers, yet each size can fit a range of bodies. When working with fluid fabrics, rectangular shapes can create beautiful wearables — think of kimonos, for example. Nanette has a slightly oversized silhouette in the body, less so in the sleeves, and is cut short with a squarish shape, which is part of its charm. With many different layering pieces in so many lengths in our wardrobes today, a short jacket can be an agreeable addition. Wear it over tunics, a dress, or any hiplength top. Of course if you choose, you can easily add as many rows as you like to make it longer. In fact, it could make quite a glorious spring coat! Many fingering-weight yarns can work with these designs, though I recommend that you consider carefully the matter of drape, to counter the overlapping stitches mentioned earlier. As you can see in Nanette, even a bit of fuzz doesn’t interfere with the big bold stitch pattern.

151

All about Crossed Stitches Crossed stitches involve the following steps: skip-

How to Work in Front of Stitches

ping 2 stitches before making 2 stitches, then work-

After skipping 2 stitches and working 2 trebles, work

ing into the 2 skipped stitches. Each pair of stitches

in front of these stitches as follows: *Yarn over twice

will slant in one direction or the other — the first

and insert your hook into the first skipped stitch,

pair from right to left (CL), and the second pair

from the front this time. It can take some fancy hook

from left to right (CR). What is visible on the right

maneuvering to get your hook under the 2 top loops

side of the work depends on whether you make

of the skipped stitch and then bring the hook up again

the second of the 2 stitches in front of or behind

without snagging the posts of the crossing stitches,

the first.

that first pair you made. If you’re having difficulty with this, try a hook with a different shape, perhaps

How to Work Behind Stitches

one that is pointier. Use the fingers of your nondom-

After skipping 2 stitches and working 2 trebles,

inant hand to move the posts of the crossing stitches

work behind these stitches as follows: Turn the

out of the way, if necessary. Once you have gotten

work so you are looking at the opposite side, *yarn

your hook into the right stitch and up again, you’ll find

over twice, insert the hook from back to front in

the yarnovers have scrunched up on the hook. They

the first skipped stitch that you come to and work a

need to be lengthened out as you complete the stitch

treble, then repeat from * for the next stitch. Then

so that they match the length of the other crossed

resume working with the work facing you as usual.

stitches. A quick little jerk up with the hook can usually accomplish this. Work the second skipped stitch the same way. When working row 1, you will be working into the back loop of the chains when doing these Crossed Treble stitches. This stitch pattern is reversible: what looks like a diamond shape on one side will look like an X on the other. This means, paradoxically, that we always start the rows with a Crossed Left pair (CL) followed by a Crossed Right pair (CR). To easily remember whether to work in front or behind, keep in mind that the first 2 trebles made will naturally slant left; therefore, if you want a CL, work behind, and if you want a CR, work in front. For left-handers, the first 2 stitches made will naturally slant right, so work behind for a CR and in front for a CL.

152

Nanette F I N I S HED MEASUREMENTS Sizes Bust S 36" M 40" L 44" XL 48" YA R N Queensland Collection Uluru, 55% cotton/26% acrylic/19% polyester, 410 yds (375 m)/100 g, 2 (3, 3, 4) balls of Jasper Green (12) (For yarn sample, see page 151.) TO O L S US G/6 (4 mm) crochet hook or size needed to obtain correct gauge One size smaller hook for finishing only Four stitch markers N OT I ONS Six shanked buttons approximately 1/2" diameter G AU GE 1 CP (8 sts) = 2"; 4 rows = 3"

Notes • When working into chains in the first row, be sure to check carefully when skipping chains and working into skipped chains. As the stitches are on a slant, it may not be obvious where to place the next stitch. • The yoke shape doesn’t become evident until row 3, where double increases are made. • This pattern uses a crossed stitch consisting of 8 treble crochet stitches, which we call Crossed Stitches Pair (CP). Instructions below explain how to make them. The first 4 trebles will slant down to the left, and we call that a Crossed Stitch Left

(CL), and the second 4 will slant down to the right and be called Crossed Stitch Right (CR). In the beginning of the pattern we tell you whether to make a CL or CR. Starting in row 4, once you’ve been making these for a few rows and have gotten the hang of it, we refer to the whole group of 8 as a CP. Just keep on doing what you’ve been doing, and if you get confused, note that you always work a CL into a CR from the previous row, and a CR into a CL from the previous row. • The starting chain and last dc in each row do not count in stitch counts throughout.

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Gauge Swatch

Yoke

Ch 20.

Ch 100.

ROW 1 Tr in 6th ch from hook (5 skipped chains

count as dc and 2 skipped sts), tr in next ch, (working behind 2 tr just made, work tr in next ch) twice (CL made), CR in next 4 ch, CL in next 4 ch, CR in next 4 ch, dc in last ch, turn. 2 CP ROW 2 Ch 3, (CL in next 4 tr, CR in next 4 tr) twice,

dc in tch, turn. ROW 3 Ch 3, (CR in next 4 tr, CL in next 4 tr) twice,

dc in tch, turn. ROWS 4 AND 5 Rep rows 2 and 3. Fasten off.

Special Stitches and Abbreviations CL (CROSSED STITCH LEFT) Sk next 2 sts, tr

in next 2 sts, working behind 2 tr just made, work tr in each sk st. CP (CROSSED STITCHES PAIR) Work 8 sts in

pattern, always working CL over CR and CR over CL. CR (CROSSED STITCH RIGHT) Sk 2 sts, tr in

next 2 sts, working in front of 2 tr just made, work tr in each sk st. INC1 (FIRST INCREASE) Sk next ch, 2 tr in next

ch, 2 tr in skipped ch. These stitches will naturally cross each other at the bottom, and it’s not necessary to work in front or behind. INC2 (SECOND INCREASE) Sk next tr, 2 tr in next tr, working behind sts just made, 2 tr in sk st (CL made), sk next tr, 2 tr in next tr, working in front of sts just made, 2 tr in sk st (CR made).

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P A R T 2 : T h e P AT T e R N S

ROW 1 (RS): Tr in 6th ch from hook (5 skipped

chains count as dc and 2 skipped sts), tr in next ch, (working behind 2 tr just made, work tr in next ch) twice (CL made), CR in next 4 ch, CL in next 4 ch, CR in next 4 ch, ch 2, (CL in next 4 ch, CR in next 4 ch) twice, ch 2, (CL in next 4 ch, CR in next 4 ch) 4 times, ch 2, (CL in next 4 ch, CR in next 4 ch) twice, ch 2, (CL in next 4 ch, CR in next 4 ch) twice, dc in last ch, turn. 12 CP, 4 ch-2 increase points: 2 CP for each front, 4 CP for back, 2 CP for each sleeve ROW 2 Ch 3, (*CL in next 4 tr, CR in next 4 tr**, rep from * to ch-2 sp, Inc1 in ch-2 sp, PM in last tr just made) 4 times, ending last rep at **, dc in tch, turn. 12 CP, 16 tr for inc In the next row we will complete the increase pattern, which adds a full CP at each increase point. At the same time, we place 2 chains on each side of the added CP to begin the next set of increases, which will result in 8 more CP in row 5. ROW 3 Ch 3, [*CL in next 4 tr, CR in next 4 tr**, rep from * to M, ch 2, work Inc2 in next 4 tr (1 CP added), ch 2] 4 times, ending last rep at **, dc in tch, turn. 16 CP, 8 ch-2 increase points ROW 4 Ch 3, (CP in each CP to next ch-2 sp, Inc1 in ch-2 sp, PM in last tr made) 4 times, CP in each CP across, dc in tch, turn. 16 CP, 32 tr for inc ROW 5 Ch 3, (CP in each CP to M, Inc2 beginning at M) 4 times, CP on each CP across*, dc in tch, turn. 24 CP: 3½ CP for each front, 7 CP for back, 5 CP for each sleeve

e Mark for sizes S & L Mark for sizes M & XL

44

22

SLEEVE Sleeve

BACK Back

Left FrontNECK Neck LEFT FRONT Inc Inc11

1

Inc 22 Inc

3

55

SYMB O L KEY ch

dc

CL

st markers

Marker for sizes Small and Large Marker for sizes Medium and X-Large

CR

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SMALL AND LARGE ONLY: With WS facing, *count 31/2 CP (28 sts) from starting edge, PM in last st of this group. Count 5 more CP (40 sts), PM in last st of this group. Starting at opposite edge, rep from *. These markers should line up with first increase made in round 2. In next row, work ch 2 after completing CP in each marked stitch. ROW 6 Ch 3, *continue in pattern across** to M, ch 2, rep from * across, ending last rep at **, dc in tch, turn. (remove markers) 24 CP, 4 ch-2 increase points ROW 7 Ch 3, continue in pattern across, working Inc1 in each ch-2 sp, dc in tch, turn. 24 CP, 16 tr for inc

SMALL ONLY:

41/2 more CP (36 sts), PM in last st of this group. Count 1 more CP (8 sts), PM in last st of this group. Beginning at opposite edge, rep from *. In next row, work ch 2 after completing CP in each marked stitch. ROW 7 Ch 3, *continue in pattern across** to M, ch 2, rep from * across, ending last rep at **, dc in tch, turn. 24 CP, 6 ch-2 increase points ROW 8 Ch 3, continue in pattern across, working Inc1 in each ch-2 sp, dc in tch, turn. ROW 9 Ch 3, continue in pattern across, working Inc2 in each Inc1, dc in tch, turn. 30 CP: 4½ CP for each front, 9 CP for back, 6 CP for each sleeve ROW 10 Work even in pattern across.

ROW 8 Ch 3, *continue in pattern across, working

Inc2 in each Inc1, dc in tch, turn. 28 CP: 4 CP for each front, 8 CP for back, 6 CP for each sleeve ROW 9 Ch 3, CP in each CP across, dc in tch, turn.

LARGE ONLY: ROW 8 Ch 3, *continue in pattern across** to next Inc1

(group of 4 tr), ch 2, work Inc2 in next 4 tr, ch 2, rep from * across, ending last rep at **, dc in tch, turn. 28 CP, 8 ch-2 increase points ROW 9 Rep row 7. 28 CP, 32 tr for inc ROW 10 Ch 3, continue in pattern across, working Inc2 in each Inc1, dc in tch, turn. 36 CP: 5 CP for each front, 10 CP for back, 8 CP for each sleeve ROWS 11 Ch 3, continue in pattern across, dc in tch, turn. Place loop on holder, continue to Body.

MEDIUM AND X-LARGE ONLY: ROW 6 Ch 3, CP in each CP across, dc in tch, turn.

With WS facing, beginning at starting edge *count 31/2 CP (28 sts), PM in last st of this group. Count

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P A R T 2 : T h e P AT T e R N S

MEDIUM ONLY: ROW 11 Work even in pattern across.

X-LARGE ONLY: With WS facing, beginning at starting edge, *count off 4 CP (32 sts), PM in last st of this group. Count 1 more CP (8 sts), PM in last st of this group. Count 5 more CP (40 sts), PM in last st of this group. Beginning at opposite edge, rep from *. In next row, work ch 2 after completing CP in each marked stitch. ROW 11 Ch 3, *continue in pattern across** to M, ch 2, rep from * across, ending last rep at **, dc in tch, turn. Remove 4 markers. 30 CP, 6 ch-2 inc points ROW 12 Ch 3, continue in pattern across, working Inc1 in each ch-2 sp, dc in tch, turn. ROW 13 Ch 3, continue in pattern across, working Inc2 in each Inc1, dc in tch, turn. 36 CP: 5 CP for each front, 10 CP for back, 8 CP for each sleeve Place loop on holder, continue to Body.

Body UNDERARM STITCHES ALL SIZES With RS facing, beginning at starting edge, *count off 4 (41/2, 5, 5) CP. Note that the last 4 sts are a CR (CL, CR, CR). PM in the space between the last st counted and the next st. Now, beginning in the st next to M, count an additional 6 (6, 8, 8) CP for the sleeve and PM between the last st counted and the next st. Repeat from *, starting at the opposite front edge. Note that you are marking between sts, so when following instructions that follow, join yarn in the space between sts, not in the top of a st. The sl st after the chains should also be made in the space between stitches. Join yarn in right back marked sp, ch 8 (8, 8, 16), sl st to right front marked sp, fasten off. Join yarn in left back marked sp, ch 8 (8, 8, 16), sl st to left front marked sp, fasten off. ROW 1 (WS) Ch 3, *work in pattern to underarm chains, working into BL only, 1 (1, 1, 2,) CP across 8 (8, 8, 16) chs; rep from *, dc in tch, turn. 18 (20, 22, 24) CP ROWS 2–12 (2–12, 2–14, 2–16) Continue in pattern. Fasten off. Feel free to work more or fewer rows until desired length is reached.

Sleeves SMALL, MEDIUM, AND LARGE ONLY: With WS facing, join yarn at the center of CP at underarm, in the space between the CL and CR or the CR and CL, as the case may be.

X-LARGE ONLY: With WS facing, join yarn in the space between the 2 CP at underarm.

ALL SIZES: ROW 1 Ch 3, [working into unworked loop of base

ch, CR (CR, CR, CL) in next 4 ch] once (once, once, twice), CL (CL, CL, CR) in next 4 ch, CP in each CP around, continue in pattern working into unworked loops of rem ch, sl st to top of starting ch, turn. 7 (7, 9, 10) CP ROWS 2–10 (2–10, 2–12, 2–12) Ch 3, continue in pattern, working CP over each CP around, sl st to top of starting ch, turn. Fasten off. Feel free to work more or fewer rows for desired length.

Finishing BUTTON BAND This edging serves two purposes: to create button bands on each front edge so that the top can be closed, and to tighten the neckline a bit. Please review Tightening the Neckline on page 54. The button band is made with 3 rows of sc stitches, but with the fuzzy yarn used in this design, I worked the neckline with slip stitches instead of sc to avoid unwanted bulk. Feel free to modify this if the yarn you’re using is smoother; sc may be fine all the way across. At the front edges, we are working into turning chains and dc sts, referred to as row ends below. Work 2 or 3 sts into each row end; experiment to see what works best with your yarn and gauge. At the neckline we work into the foundation chains of row 1.

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ROW 2 Ch 1, sc in each sc along left edge (do not

I recommend starting with a hook one size smaller than that used in the pattern, inserting the hook under any 2 loops that are convenient. Be attentive to creating an edging that matches the length of your front edges. In row 1, experiment with working 2 or 3 stitches in each row end; you may find it's best to alternate them, or work 3 stitches every once in a while, in order to get an edging that fits really nicely. With RS facing, join yarn at bottom right corner of front. ROW 1 Ch 1, work 2 or 3 sc in each row end along right edge until neckline, sl st in each base ch of neckline, tightening as necessary by working more tightly or skipping sts, then continue working 2 or 3 sc in each row end on left front edge, turn.

work into neckline), turn. ROW 3 Ch 1, sc in each sc along left edge, fasten off.

Sew on buttons evenly spaced apart. With WS facing, join yarn on right front at topmost sc. ROW 1 Ch 1, sc in each sc to end, turn. ROW 2 Ch 1, *sc in each sc to next button, ch 2, sk 2

sc, rep from * across, turn. ROW 3 Ch 1, *sc in each sc to next ch-2, 2 sc in ch-2 sp, rep from *, sc in each sc to end. Fasten off. Block garment as needed.

Nanette 24˝

2˝ 8˝ 6¾ (8¼, 8¼, 9¾)˝ 14 (14, 18, 20)˝

36 (40, 44, 48)˝

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P A R T 2 : T h e P AT T e R N S

Erde F I N I S HED MEASUREMENTS Sizes Bust S 36" M 39" L 45" XL 48" YA R N Valley Yarns 2/14 Alpaca Silk, 80% alpaca/20% silk, 1736 yds/1/2 lb, 1 (2, 2, 2) cone(s)/1540 (1895, 2420, 2530) yards of Periwinkle (For yarn sample, see page 151.) TO O L S US E/4 (3.5 mm) crochet hook or size needed to obtain correct gauge One size smaller crochet hook for lower sleeves Four stitch markers G AU GE 2 CP (16 sts) = 3"; 4 rows/rnds = 2"

Notes How the increases work in this pattern: • Repeats of the stitch pattern, which is a Crossed Pair (CP) consisting of 8 stitches, are built up gradually over 3 rounds. The first increase adds 4 “corner CPs” between the sleeves and front/back sections. The next group of increases builds 8 additional CPs by working a new CP on either side of the 4 corner CPs. This occurs as many times as needed to reach the desired dimensions for each size. Where it’s necessary to add CPs on the front/ back and not the sleeves, the increase is worked on one side of the corner CP only.

• When working into chains in the first round, be sure to check carefully when skipping chains and working into skipped chains; since the stitches are slanted, it’s not always obvious where to place the next stitch. • This stitch pattern is reversible, and front and back are mirror images of each other. To easily remember whether to work in front or behind, remember that the first 2 trebles made will naturally slant left; therefore, if you want a CL, work behind, but if you want a CR, work in front. • Rounds begin and end at center back.

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Gauge Swatch

Yoke

Ch 20.

With larger hook, ch 131.

ROW 1 Tr in 6th ch from hook (5 skipped chains

SMALL ONLY:

count as dc and 2 skipped sts), tr in next ch, (working behind 2 tr just made, work tr in next ch) twice (CL made), CR in next 4 ch, CL in next 4 ch, CR in next 4 ch, dc in last ch, turn. 2 CP ROW 2 Ch 3, (CL in next 4 tr, CR in next 4 tr) twice,

dc in tch, turn. ROW 3 Ch 3, (CR in next 4 tr, CL in next 4 tr) twice,

dc in tch, turn. ROWS 4 AND 5 Rep rows 2 and 3, fasten off.

Special Stitches and Abbreviations CL (CROSSED STITCH LEFT) Sk next 2 sts, tr

in next 2 sts, working behind 2 tr just made, work tr in each sk st. CP (CROSSED STITCHES PAIR) Work 8 sts in

pattern, always working CL over CR and CR over CL. CR (CROSSED STITCH RIGHT) Sk 2 sts, tr in

next 2 sts, working in front of 2 tr just made, work tr in each sk st. INC1 (FIRST INCREASE) 4 tr in ch, PM in last tr

made. INC2 (SECOND INCREASE): Sk next tr, 2 tr in next tr, working behind sts just made, 2 tr in sk st (CL made), sk next tr, 2 tr in next tr, working in front of sts just made, 2 tr in sk st (CR made).

160

P A R T 2 : T h e P AT T e R N S

RND 1 (RS): Tr in 6th ch from hook (5 skipped chains

count as dc and 2 skipped sts), tr in next ch, working in front of 2 tr just made, tr in each sk ch (CR made), (CL in next 4 ch, CR in next 4 ch) twice, ch 1, (CL in next 4 ch, CR in next 4 ch) 3 times, ch 1, (CL in next 4 ch, CR in next 4 ch) 5 times, ch 1, (CL in next 4 ch, CR in next 4 ch) 3 times, ch 1, (CL in next 4 ch, CR in next 4 ch) twice, CL in next 4 ch, sl st to 3rd ch of starting ch, turn. 16 CP, 4 ch-1 inc points: 5 CP each for front and back, 3 CP for each sleeve RND 2 Ch 3, CR in next 4 tr, (*CL in next 4 tr, CR in next 4 tr, rep from * to next ch-1 sp, Inc1 in ch-1 sp, PM in last st of inc) 4 times, (CL in next 4 tr, CR in next 4 tr) across to last 4 tr, CL in last 4 tr, sl st to top of starting ch, turn. 16 CP, 16 tr for inc RND 3 Ch 3, CR in next 4 tr, *CL in next 4 tr, CR in next 4 tr; rep from * to M, work Inc2 in next 4 tr (1 CP added), remove M; rep from * 4 times, (CL in next 4 tr, CR in next 4 tr) across to last 4 tr, CL in last 4 tr, sl st to top of starting ch, turn. Remove markers. 20 CP: 7 CP each for front and back, 3 CP for each sleeve RND 4 Ch 3, CR in next 4 tr, CP in each CP around to last 4 sts, CL in last 4 sts, sl st to top of starting ch, turn. RND 5 Ch 3, CR in next 4 tr, (CP in next CP) 3 times, ch 1, (CP in next CP) twice, ch 1, CP in next CP, ch 1, (CP in next CP) 7 times, ch 1, CP in next CP, ch 1, (CP in next CP) twice, ch 1, (CP in next CP) 3 times, CL in next 4 tr, sl st to top of starting ch, turn. 20 CP, 6 ch-1 inc points RND 6 Rep rnd 2. 20 CP, 24 tr for inc RND 7 Rep rnd 3. 26 CP: 9 CP each for front and back, 4 CP for each sleeve

SYMBOL KEY 4 sl st

3

Inc 2

ch

2 Inc 1

CL

1 CR

SLEEVE

B AC K

RND 8 Rep rnd 4.

RND 2 Ch 3, CR in next 4 tr, (*CL in next 4 tr, CR in

RND 9 Ch 3, CR in next 4 tr, (CP in next CP) 4 times,

next 4 tr, rep from * to next ch-1 sp, Inc1 in ch-1 sp, PM in last st of Inc) 4 times, (CL in next 4 tr, CR in next 4 tr) across to last 4 tr, CL in last 4 tr, sl st to top of starting ch, turn. 16 CP, 16 tr for inc RND 3 Ch 3, CR in next 4 tr, *CL in next 4 tr, CR in next 4 tr, rep from * to M, work Inc2 in next 4 tr (1 CP added), remove M; rep from * 4 times, (CL in next 4 tr, CR in next 4 tr) across to last 4 tr, CL in last 4 tr, sl st to top of starting ch, turn. 20 CP: 6 CP each for front and back, 4 CP for each sleeve RND 4 Ch 3, CR in next 4 tr, (CL in next 4 tr, CR in next 4 tr), twice, ch 1, CL in next 4 tr, CR in next 4 tr, ch 1, (CL in next 4 tr, CR in next 4 tr) 3 times, ch 1, CL in next 4 tr, CR in next 4 tr, ch 1, (CL in next 4 tr, CR in next 4 tr) 5 times, ch 1, CL in next 4 tr, CR in next 4 tr, ch 1, (CL in next 4 tr, CR in next 4 tr) 3 times, ch 1, CL in next 4 tr, CR in next 4 tr, ch 1, (CL in next 4 tr, CR in next 4 tr) twice, CL in last 4 sts, sl st to top of starting ch, turn. 20 CP, 8 ch-1 inc points RND 5 Ch 3, CR in next 4 tr, (CP in each CP to next ch-1 sp, Inc1 in ch-1 sp, PM in last st of Inc) 4 times, CP in each CP to last 4 tr, CL in last 4 tr, sl st to top of starting ch, turn. 20 CP, 32 tr for inc

ch 1, CP in next CP, ch 1, (CP in next CP) twice, ch 1, CP in next CP, ch 1, (CP in next CP) 9 times, ch 1, CP in next CP, ch 1, (CP in next CP) twice, ch 1, CP in next CP, ch 1, (CP in next CP) 4 times, CL in next 4 tr, sl st to top of starting ch, turn. 26 CP, 4 ch-1 inc points RND 10 Rep rnd 2. 26 CP, 32 tr for inc RND 11 Rep rnd 3. 34 CP: 11 CP each for front and back, 6 CP for each sleeve RND 12 Rep rnd 4. Continue to Body.

MEDIUM, LARGE, AND X-LARGE ONLY: RND 1 (RS), Tr in 6th ch from hook (5 skipped

chains count as dc and 2 skipped sts), tr in next ch, working in front of 2 tr just made, tr in each sk ch (CR made), (CL in next 4 ch, CR in next 4 ch) twice, ch 1, (CL in next 4 ch, CR in next 4 ch) 3 times, ch 1, (CL in next 4 ch, CR in next 4 ch) 5 times, ch 1, (CL in next 4 ch, CR in next 4 ch) 3 times, ch 1, (CL in next 4 ch, CR in next 4 ch) twice, CL in next 4 ch, sl st to 3rd ch of starting ch, turn. 16 CP, 4 ch-1 inc points: 5 CP each for front and back, 3 CP for each sleeve

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1 CP, ch 1, 4 CP, CL in last 4 sts, sl st to top of starting ch, turn. 36 CP, 8 ch-1 inc points RNDS 11 AND 12 Rep rnds 8 and 9. 44 CP: 12 CP each for front and back, 10 CP for each sleeve

MEDIUM, LARGE, AND X-LARGE ONLY: RND 10 (13, 13) Ch 3, CR in next 4 tr, 4 (5, 5) CP,

ch 1, 9 (11, 11) CP, ch 1, 9 (11, 11) CP, ch 1, 9 (11, 11) CP, ch 1, 4 (5, 5) CP, CL in last 4 tr, sl st to top of starting ch, turn. 36 (44, 44) CP, 4 ch-1 inc points RND 11 (14, 14) Rep rnd 8. 36 (44, 44) CP, 16 tr for inc RND 12 (15, 15) Rep rnd 9. 40 (48, 48) CP: 12 (14, 14) CP each for front and back, 8 (10, 10) CP for each sleeve RNDS 13 AND 14 (16, 16) Ch 3, CP in each CP around, place loop on safety pin. RND 6 Rep rnd 3.

28 CP: 8 CP each for front and back, 6 CP for each sleeve RND 7 Ch 3, CR in next 4 tr, 3 CP, ch 1, 1 CP, ch 1, 5 CP, ch 1, 1 CP, ch 1, 7 CP, ch 1, 1 CP, ch 1, 5 CP, ch 1, 1 CP, ch 1, 3 CP, CL in last 4 sts, sl st to top of starting ch, turn. 28 CP, 8 ch-1 inc points RND 8 Ch 3, CR in next 4 tr, *CP in each CP to next ch-1 sp, Inc1 in ch-1 sp; rep from *, around, CP in each CP to last 4 tr, CL in last 4 sts, sl st to top of starting ch, turn. 28 CP, 32 tr for inc RND 9 Rep rnd 3. 36 CP: 10 CP each for front and back, 8 CP for each sleeve

LARGE AND X-LARGE ONLY: RND 10 Ch 3, CR in next 4 tr, 4 CP, ch 1, 1 CP, ch 1,

7 CP, ch 1, 1 CP, ch 1, 9 CP, ch 1, 1 CP, ch 1, 7 CP, ch 1,

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P A R T 2 : T h e P AT T e R N S

Body UNDERARM STITCHES *Count 51/2 (6, 7, 7) CP [44 (48, 56, 56) sts] from beginning of round, PM in space between this CP and the next CP; beginning after M, count 6 (8, 10, 10) more CP [44 (64, 80, 80) sts], PM between this CP and the next CP; counting in opposite direction from beginning of round, rep from *. Join yarn in first marked sp, ch 8 (8, 8, 16), slip stitch to next marked sp, fasten off. Repeat on opposite side, adding chains between 3rd and 4th markers. Remove markers. With RS facing: RND 1 Ch 3, CP in each CP to underarm chains, * working into BL only, [CL (CR, CR, CR) over next 4 ch, CR (CL, CL, CL) over next 4 ch] 1 (1, 1, 2) time(s)**, CP in each CP to next underarm chains, rep from * to **, CP in each CP to end, sl st to top of starting ch, turn. 24 (26, 30, 32) CP

RND 2 Ch 3, CP in each CP around, sl st to top of

RNDS 2–14 Work even in pattern.

starting ch, turn. Continue working even in pattern until garment is desired length. Model is size Medium and has 29 rows on body, measuring 141/2" from underarm. At end of last rnd, fasten off.

Change to smaller hook. Note that the smaller hook will make a slight change in sleeve circumference, so change hooks once you are past the elbow. Try on garment to check. RNDS 15–24 , Continue working even in pattern. Fasten off. Sleeve measures 12" from underarm. Feel free to work more or fewer rounds for desired length.

Sleeves With RS facing, note where CPs for body were worked in underarm chains. PM between 4th and 5th (4th and 5th, 4 and 5th, 8th and 9th) tr. Join with sl st in marked sp. RND 1 Ch 3, remaining in pattern, CL (CL, CR, CR) in next 4 sts, CR (CR, CL, CL) in next 4 sts, work CP in each CP of underarm and sleeve, sl st to top of ch-3. 7 (9, 11, 12) CP

Finishing Wet or steam block as needed.

Erde 23˝

2˝ 10½ (13½, 16½, 18)˝

7½˝ 6 (7, 8, 8)˝

36 (39, 45, 48)˝

NANeTTe AND eRDe

163

Index bold = stitch diagram

A

alterations armhole depth, 50–51 bust, enlarging the, 51 circular-yoke garments, 49 converting a pullover to a cardigan, 54–55 length adjustments, 49 neckline tightening, 54 sleeves, lengthening and tapering, 51–53 waist shaping, 53–54 yoke adjustments, 50 armhole depth adjusting fit at the underarm, 25–26 changing the depth, 50–51 measurements you’ll need, 44–45 yoke shaping, 15–16 Ava circular yokes, 3, 17 garment pair overview, 5 introductory info, 58–60 pattern, 61–65 schematic, 65 stitch diagram, 62

B

Bettina acrylic yarn drape, 35 circular yokes, 3, 17 full-figure styles, 47 garment pair overview, 5 introductory info, 58–60 pattern, 66–70 schematic, 70 stitch diagram, 67

164

blocking your garment, 37–39 your swatch, 33–34 bust allowing for ease, 43 enlarging the bust dimension, 51 how sweaters fit, 47 measurements you’ll need, 44–45

C

cardigans converting a pullover to a cardigan, 54–55 vs. pullovers, 18 Chloe choosing a length, 48 full-figure styles, 47 garment pair overview, 6 introductory info, 71–73 lacy/openwork designs, 20 pattern, 79–84 raglan yokes, 3 schematic, 84 stitch diagram, 81 circular yokes, 3, 5, 8 altering circular yoke garments, 49 enlarging the bust, 51 necklines, 14 shaping, 16–17 stitch count errors, 22 counting stitches and placing markers, 20 crossed stitches, 52

E

tapered sleeves, 52–53 textured yarns, 37 underarm, 25

ease, allowing for, 43 Erde garment pair overview, 8 introductory info, 149–51 mastering stitches, 30, 32 pattern, 159–63 schematic, 163 stitch diagram, 161

F

fibers blocking considerations, 33–34, 37 choosing suitable yarns, 4, 34–35 fibers and fit, 49 fitting your garment, 40–55. See also alterations fibers and fit, 49 full-figure styles, 47–48 length, 48 measuring a favorite sweater, 45 measuring yourself, 43–44 reading a schematic, 46 sleeves, 48, 51–53 waist shaping, 53–54

I

Isabel cardigan tips, 18 garment pair overview, 7 introductory info, 120–21 lacy/openwork designs, 20–21 mastering stitches, 30, 32 neckline, 14 pattern, 128–32 schematic, 132 smooth yarns, 36 stitch diagrams, 131 Isola cap sleeves, 48 garment pair overview, 6 introductory info, 71–73 lacy/openwork designs, 20 pattern, 73–78 raglan yokes, 3 schematic, 78 stitch diagram, 75

full-figure styles, 47–48

G

gauge and drape, 31–32 Genevieve cardigan tips, 18 circular yokes, 3, 17 garment pair overview, 8 introductory info, 133–35 pattern, 135–42 schematic, 142 stitch diagrams, 137, 140

165

L

lacy designs, 8, 71, 122, 149 shaping in, 20–21 length adjusting the, 49 choosing a, 48 knitting to desired length, 27 lengthening and tapering sleeves, 51–52 taking measurements, 44–45

J Jade garment pair overview, 7 introductory info, 98–100 pattern, 101–10 pullover to cardigan conversion, 55 schematic, 110 smooth yarns, 36 stitch diagram, 105 tapered sleeves, 52–53 Janelle cardigan tips, 18 full-figure styles, 47 garment pair overview, 6 introductory info, 85–87 mastering stitches, 30, 32 neckline, 14, 17 pattern, 92–97 schematic, 97 stitch diagram, 94 taller stitches, 21

Luna converting to cardigan, 18 garment pair overview, 6 introductory info, 85–87 mastering stitches, 30, 32 neckline, 14 pattern, 87–91 raglan yokes, 3, 17 schematic, 91 shaping lacy designs, 20–21 sleeves, 48 stitch diagram, 88 taller stitches, 21

M

Magda fuzzy yarns, 36 garment pair overview, 7 introductory info, 98–100 pattern, 101–19 pullover to cardigan conversion, 54–55 schematic, 119 stitch diagram, 114 waist shaping, 53–54 mastering stitches and tension, 30, 32 measuring a favorite sweater, 45 yourself, 43–44 method for top-down crochet, overview, 12

166

INDeX

N

Nanette garment pair overview, 8 introductory info, 149–51 mastering stitches, 30, 32 pattern, 153–58 raglan yokes, 3 schematic, 158 sleeves, 48, 51–52 stitch diagram, 155 neckline building the neckline, 19–22 circular and raglan shapes, 16 overview, 13–14 tightening the, 26, 54

P

plies and spin, 35 pullover vs. cardigan, 18 converting to cardigan, 54–55

R

raglan yokes, 2–3, 6 enlarging the bust, 51 Isola and Chloe, 71–73 Jade and Magda, 100, 102, 112 necklines, 14, 19–22 shaping, 16–17 Rosina cardigan tips, 18 fuzzy yarns, 36 garment pair overview, 7 introductory info, 120–21 lacy/openwork designs, 20–21 mastering stitches, 30, 32 pattern, 122–27 schematic, 127 stitch diagrams, 125–26

S

schematic adding your measurements to a, 44 blocking to match, 39 how to read a, 46 sleeves how sweaters fit, 48 lengthening and tapering, 51–53 overview of sweater parts, 13 working the sleeve, 27 spin plies and spin, 35 spin matters when selecting yarn, 37 stitch count counting stitches and placing markers, 20 fixing errors, 22 swatches blocking your swatch, 33 gauge and drape, 31–32 practice vs. gauge, 30

T

top-down method blocking your garment, 37–39 blocking your swatch, 33–34 body, beginning the, 26–27 broad steps illustrations, 12–13 cardigans vs. pullovers, 18 construction basics, 2–3 counting stitches and placing markers, 20 fixing stitch count errors, 22 gauge and drape, 31–32 mastering stitches and tension, 30, 32 necklines overview, 13–14 necklines, building, 19–22 shaping in lacy designs, 20 sleeve, working the, 26–27 underarm, creating the, 24–26 yarns, choosing for projects, 34–37 yoke shaping, 15–18 yoke, trying it on as you go, 22–23

INDeX

167

U W Y

A BBR E V I AT IONS

underarm, creating the, 24–26

waist shaping, 53–54

yarns choosing yarns for projects, 34–37 fiber content, 34–35 fuzzy vs. smooth, 36 plies and spin, 35, 37 yarn used in this book, 4 yokes. See also circular and raglan yokes alterations, 50 shaping, 15–18 top-down construction basics, 2–3 trying it on as you go, 22–23 two methods, 16–17

Z Zora

circular yokes, 3, 17 fuzzy yarns, 37 garment pair overview, 8 introductory info, 133–35 pattern, 143–48 schematic, 148 sleeves, 48, 51–52

168

INDeX

BL BP BPEtr ch ch-sp Cl CL CP CR dc(s) dc2tog dec dtr dtr3tog Ehdc Ehdc2tog Fhdc FL FLEhcd FP FPEdc FPEtr FPtr Fsc hdc hdc2tog inc Ldtr M prev PM rep rnd RS sc sk sl st sp st(s) tch tog tr V-st WS yo

back loop back post back post extended treble chain chain space cluster crossed stitch left crossed stitches pair crossed stitch right double crochet stitch(es) work 2 double crochet stitches together decrease double treble work 3 treble crochet stitches together extended half double crochet extended half double crochet decrease foundation half double crochet front loop front loop extended half double crochet front post front post extended double crochet front post extended treble front post treble foundation single crochet half double crochet half double crochet decrease increase linked double treble stitch marker previous place marker repeat round right side single crochet skip slip stitch space stitch(es) turning chain together treble crochet (dc, ch 1, dc) in designated stitch wrong side yarnover

ACK NOW L ED GM EN TS A most hearty thanks to all my collaborators in this book: Gwen Steege of Storey, tech editor Charles Voth, and marvelous stitchers Michelle Urcuyo, Nancy Smith, Kristin Lynn, and Andrea Putnam. My gratitude as well to the yarn companies who generously donated yarn for the designs: Berocco (berocco.com) Blue Sky Alpacas (blueskyalpacas.com) Cascade Yarns (cascadeyarns.com) Crystal Palace (straw.com) Debbie Bliss and Queensland (knittingfever.com) Designing Vashti (designingvashti.com) Knitpicks (knitpicks.com) Patons (patonsyarn.com) Plymouth Yarn (plymouthyarn.com) Skacel Collection (skacelknitting.com) Universal Yarn (universalyarn.com) Valley Yarns (yarn.com)

M ETR IC C ON V E R S ION C H A RT When the measurement given is

To convert it to

Multiply

US

Metric

inches

millimeters

inches by 25.4

⅛ inch

3.2 mm

inches

centimeters

inches by 2.54

¼ inch

6.35 mm

inches

meters

inches by 0.0254

⅜ inch

9.5 mm

feet

meters

feet by 0.3048

½ inch

1.27 cm

yards

centimeters

yards by 91.44

⅝ inch

1.59 cm

yards

meters

yards by 0.9144

¾ inch

1.91 cm

⅞ inch

2.22 cm

1 inch

2.54 cm

INDeX

169

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