Getting Footprinted

Yesterday, I had the great pleasure of attending a hand knitting seminar with the inspirational Cat Bordhi. Cat is known for her innovative designs for scarves, bags and socks. It was Cat's first book on socks - Socks Soar on Two Circular Needles - that actually got me to try socks again after a disaster on double points that left me with two socks, knit the same, but totally different in size.

Cat's latest book - Personal Footprints for Insouciant Sock Knitters, is about yet another new approach to socks. The socks involve no math, no short rows and no partial knit rows. Every row is knit in the round. The fit is perfect!

The socks are personalized for the wearer, and the initial sock is developed as a foot map - or footprint template is created. Once the template is developed, it can be used over and over for more socks for the same person.

In class, Cat coached us as we developed our templates. Most of us found that we needed fewer stitches for our feet than the traditional sock pattern calls for. My Socks That Rock yarn, knitted on size zero needles, needs only 48 stitches to fit my foot.

My leg opening needs 60 stitches. It would not be easy to do this with a standard sock pattern, but in a Footprint Sock it is no problem at all! This also explains why some socks give me such a poor fit.

Footprints socks are cast on at the toe, with a very simple cast on. The toe is increased, and when it is big enough, the foot is knit straight to the first increase point. This point varies from person to person based on the topology of their foot. Some people's foot gets thicker toward the ankle very quickly, while others, like mine have a gradual slope.

When increases are needed, they are done randomly or in a pattern on the sole of the sock. This leaves the top of the sock free for whatever designs the knitter wants to incorporate. The number of increase points and increases varies from person to person. The increase points and reference lines are marked on the template by trying the socks on the template. Subsequent socks only need to be tried on the template to see where the increases and other maneuvers are needed.

Once the increases are complete, the socks are knit straight to the leg opening point. This point is at the center of the leg. The correct sock length is found by trying on the sock and stretching it at the sides until it reaches the center point of the leg.

At that point, the row is marked on the top of the sock with a marking thread. One more row is knit, and a second marking row is added. The leg opening is later cut, stitches are picked up and the leg is knit up from the opening.

Knitting continues to the heel point where the heel is decreased in a similar manner to the toe. The opening is closed later with a three needle bind off.

In addition to the easiest toe ever, Cat showed us a very stretchy bindoff that will be useful for not only socks, but for any bindoff that needs to be very stretchy. This bindoff will get lots of use, I am sure. Cat has videos of this bindoff and other techniques in the sock on YouTube.

I confess, I probably would not have tried this method for making socks unless someone made me sit down and do it. Putting this much effort into what amounts as a "sock swatch" is not my nature.

In class, I managed to get my initial footprint knitted almost to the leg opening point. Last night, I knitted almost to the heel decreases. Once the footprint is done, I can open the leg and add the cuff. Then I have to do the second sock - not my strong suit for sure. The next pair of these will definitely be done two at a time.

I have to say that so far the fit is the best ever! I think I am going to love these socks.

Saving Mr. Greenjeans

In 2008, I made a sweater published in Knitty called Mr. Greenjeans. I knitted it from my handspun yarn. I started trying to wear it, but it kept slipping down my shoulders. The fit was terrible, and so I decided to give it away. I promptly just forgot about it. The decision was made, and that was that. It was in the give away pile, however, I am very slow to actually get the box together and give something away.



Last week, at my Monday knitting group, one of the ladies brought in a sweater, knit sideways from garter stitch. The yarn was beautiful, but she was really unhappy with the fit of the sweater. She said when she put the sleeves in, that it was just weighted down, and the fit was terrible. We discussed ways to fix it so she could wear it.



The problem was all the weight of the yarn stretching out the garter stitch - which likes to grow and grow and grow. It needed to be stabilized, so we suggested crocheting a neckband to give the neck stability and stop the garter stitch from stretching. We discussed how in sewing, that a lot of stabilization is put in the neck and shoulder area, since that is the foundation that the garment literally hangs from. Sweaters don't get this stabilization, but unless the yarn is very light weight, they need something. Machine knitters often crochet a chain across the back neck, and apply the neckband over the chain. The chain helps keep the back neck from stretching.



A couple of days later, I was still thinking about that pretty sweater, and I thought that perhaps adding a slipstitch row of elastic thread would help it. Then I had an a-ha moment. That was what Mr. Greejeans needed. Maybe that sweater could also be saved.



So today, I went digging in my sewing notions and found some black elastic thread. I slip stitch crocheted with the elastic through the row where I added the neckband on the inside of the sweater. I actually did two slip stitch rows on top of each other. Then the neckband seemed a little floppy, so I did the same thing about two rows down in the ribbing from the top. I put a stitch in each purl stitch and skipped the knit stitches. In the photo, you can see where I put the elastic. It does not show at all from the outside.

I tried the sweater on, and was delighted with the new fit. The neck is now stable and I think the growing problem is solved. Mr. Greenjeans has been saved.

Drop by Drop

For several months, I have been planning a warp for the Summer and Winter Kitchen Towels in the Handwoven E-Book "Top Ten Towels on Four Shafts". In fact since June, five skeins of yarn have been scoured and waiting on the cabinet in my utility room. The time has long since passed to get them off the cabinet.

The thing that has stopped me is the number of colors of yarn that are required. The towels use five different colors of 5/2 cotton plus white. I had exactly one of those colors - white.

When I started weaving, I decided I would try to dye many of the colors called for, since I do not want to add to the large supply of yarn that I have already. The problem is I have no formal art training, so my color mixing knowledge relies heavily on what I learned from finger paints in kindergarten.

For this project, my challenge came in mixing some colors that were close to the colors used in the original pattern - although I am sure other colors would be equally pretty. I really struggled over how to mix some of the colors especially the "California Gold". I had the yellow part down, but was not sure how to get the gold part. I also needed to mix a "Dark Turk" color and a coral color.

From my earlier fiber reactive dye experiments, I learned that the mixed dye solutions can be painted onto watercolor paper, and the dried samples are pretty close to what the actual dyed cloth or yarn will be. Someplace, I also saw that a coffee filter can be substituted for the paper. So, I decided to mix a gradation of the colors between two colors in 9 steps, and try out the coffee filters as a place to preserve my samples.

I used a watercolor mixing palette, and put drops of Deep Yellow in the indentations with an eyedropper. In the first indent, I put one drop, in the second two drops and so forth all around to the last one which got 10 drops. Next, I used Chocolate Brown dye solution and in the indentation with one drop of Deep Yellow, I put 9 drops of Chocolate Brown. The two drops of yellow got 8 drops of brown and so on around. I did not put any brown in the indentation that had the 10 drops of yellow. So each basin had a total of 10 drops of dye, giving a simple formula that can be used to mix larger quantities of that same color.

Next I used a paint brush to paint little samples of each color all around the coffee filter. Now I have a good idea about how to get that California Gold color, or rather my interpretation of it, for the warp for the towels. I also have samples of the colors that can be mixed from these two colors and a rough idea of how to get the color I am aiming for.

I repeated this sampling with the rest of the dye solutions I had mixed up. Now I have lots of color samples to use for a quick reference the next time I dye yarn or fabric.

I dyed the yarn which had been scoured and skeined for three months. It is now curing in my hot water heater closet. I will be rising it in a couple of days, so soon, I will be ready to wind the Summer and Winter Towels Warp. I also dyed some muslin for my She-Knits Autumn Mystery Bag which is felted and waiting for a lining.

This was a fun exercise. It made me think of the art classes I did not get to take. I really do have a lot of colors hiding in a few jars of dye powder.

Drop in the Bucket Stash Busting

The Fall 09 Handwoven magazine contained at least four projects that appeal to me. The first one, the Budget Bamboo Shawl is off the loom already. Since the weaving weather is very good for being in my non climate controlled studio, I have rushed to get another project on the loom from the Fall 09 issue.

The new project is the Stash Busting Placemats which is now warped and the weaving is in progress. The sad thing is that I don't think my stash will actually see a big reduction. In fact, I think I have a net increase in stash since I did not have the 8/2 cotton used in the warp for these mats - so that FORCED me to go shopping closeouts at Webs.

However, I did uncover a cone of Cotton Flake in my stash that is going to give these just the look I wanted. I love the colors of this flake. The mats, in progress, are looking just the way I envisioned them. They are going to make a nice gift for someone on my Christmas list.

For the warp of these, I used one strand of navy blue and one strand of chocolate brown. In the weft I have 2 strands of navy blue, one strand of chocolate brown and 3 strands of the cotton flake. Laura Fry, the designer, used two strands of Cotton Flake in her sample, but I wanted mine a bit more hefty so I have opted for 3 strands.

The pattern did not really talk about how many picks of plain weave to use after the hemstitching, so I chose 3 for a total of 6 picks of plain weave. The pattern is a broken twill and I really love it. It is making a nice fabric for a busy yarn, so I will probably use this draft again

I have one mat woven and am ready to hemstitch the second one.

I am already queuing up the next project from this Handwoven issue. I can mind weave really fast. Too bad the weaving goes much slower or my stash might actually be in trouble!

Off the Loom

My Budget Bamboo Shawl is complete! It is off the loom, fringed, washed and pressed.
It was a fun project - one of those that made me want to do more weaving. The finished fabric is soft and very drapey.


It wove very quickly. I analyzed the tie ups and draft and discovered that I really only needed 3 treadles tied up. I rearranged those so that when my shuttle was on the left, I used the far left treadle, and when my shuttle was on the right, I used either the fourth or sixth treadle depending on where I was in the weaving sequence.


Other treadles were tied up in the draft, but they were for weaving some alternate designs with the same pattern. I decided to stick to the treadling sequence used for the sample in the magazine, after I looked at the alternates in my weaving software.

I bought 6 balls of the Aunt Lydia's Bamboo Crochet yarn and used most of 5. It took almost all of 3 balls for the warp, and 2 balls for the weft. I tried to pay attention to the 15 ppi which meant a light touch on the beater.









I did make a few weaving mistakes that I did not catch while I was weaving. I would have unwoven a ways to correct then if I had seen them. I will chalk this up to being a beginner - although with each project complete, I am farther along the path to being a real weaver.

I don't think the mistakes will matter in the long run, and I will improve next time.

As far as I know, I am the only one in our Weave Along who is done with the shawl. I don't think the others have their warps on the loom yet.

I am planning my next project already. I have my sights set on the Stash Buster Placemats in the same issue of Handwoven (Fall 2009). I really love this issue of Handwoven. After the placemats are done, there are still 2 more projects in that issue of the magazine that I want to try.

These projects will all end up as Christmas presents. I just hope I can get done before the cold weather hits because then my '"weaving studio (a. k. a the garage) " becomes too cold to use.

Blame it On Charlene

In September, Peggy, Kate Faye and I went to the Cajun Lagnaippe Fiber For'em. This is a nice little fiber festival held at a camp in southwest Louisiana.


The For'em features lots of great classes including Weaving, Bobbin Lace, Sock Machine Knitting, and Machine Knitting taught by Yours Truly. The teacher of the Beginning Weaving Class, Charlene, had this bamboo shawl as one of her samples. She wove it from the directions in the September/October 2009 Handwoven Magazine, called the Budget Bamboo Shawl.


The shawl is made from Aunt Lydia's Bamboo Crochet Cotton. It is woven in Bronson Lace (new for me). The yarn costs less than $15. It is available at Wal-Mart, JoAnn's and Hobby Lobby.

Charlene had deviated from the pattern and used a cream color for the warp and white for the weft, and the subtle difference gave the shawl lots of depth. Kate, Peggy, Faye and I all loved it, so we decided we would all weave it in a Weave A Long or WAL.


So, we all got the yarn and two Wednesdays ago at spinning we began winding our warps. I was able to finish winding mine, and I believe that Kate and Peggy have theirs wound too.


This week, after finishing my Scarf Jail Scarves (that is a whole nother story), I began warping my loom. The loom is a very old Le Clerc Nilus that I think was made in the 1950's or 1960's. It was a school loom, and I am sure could tell lots of stories if it could talk.

I am a process person, so I am always looking for a new twist on stuff. Never mind that I am a beginning level weaver with less that a dozen warps under my belt. Last year I ordered the Singing Weaver's (Nadine Saunders) Warping on a Shoestring video, and I also ordered Peggy Osterkamp's Warping from the Back Video, as well as her book on warping. So, armed with all this information, I decided to branch out (since I am so NOT an expert on warping from the front of the loom) and break out my new raddle to put this warp on from the back using a combination of Peggy and Nadine's techiques.


Nadine uses shoestrings for lots of things when she weaves. She ties the warp to the back apron with shoe strings, and she also ties the warp to the front apron rod with shoestrings. It takes a bunch of shoestrings for her technique and I had shopped Ebay and ordered mine last spring from someone who had some close outs (can't imagine why red and green plaid sparkly shoe laces would have been on close out). I think I paid less than $10 for 40 pairs. You can see them in the photo and even see the glitter!


So, the photos show my warp going on the loom from the back with the raddle in place (Peggy O does this a little differently and I might try her process next time). It also shows my completed tied on warp and glittery shoestrings!


A gadget I got, that I highly recommend is the Auto Reed Hook. This tool is a must have - though a little expensive, it is well worth it. This was the first time I had used it. That hook cut my reed threading time by 2/3rds at least. I LOVE it. If you are a weaver, put it on your Christmas list.


So today, I tied the warp on to the front beam with the shoelaces and a snitch knot a la "Warping on a Shoestring". I found it very easy to remove the knots and correct the two crossed in the reed threads, and I believe I am now ready to weave the shawl.


As a side note, two errors in the threading is the least I have ever had! I must be improving with time in the chair.


The next thing to conquer is hemstitching since the shawl is hemstitched on both ends, and you start with the hemstiching before the weaving.


I will be weaving on the shawl tomorrow!

Peggy, Faye, Kate and Marlene get busy! I want to see your progress. This is a Weave-Along, not a Weave-Alone!

Charlene, see what you have started?

Shade Tree Knitting Machine Mechanics

A very common problem with Brother and Knitking knitting machines is as they age, the fairisle button becomes glued to the thread lace button by old oil and grease. My favorite machine has been suffering from this malady, and with no knitting machine service people in the area, I decided to take matters into my own hands.

I thought maybe someone else might benefit from this information, so I am breaking my blogging silence.

Now one thing that does work on this problem every time I am aware of is to remove the carriage from the machine and warm up the center bottom of the carriage with a hairdryer for about a minute, then retry the buttons. Repeat a couple of times if needed.

I have used the hairdryer, with success, on this particular carriage. The problem is that the gunk rehardened and the button restuck, so more drastic measures were called for. My Bulky machine had the very same problem, and I used the hairdryer on it. After nine months the buttons are still working properly, so the hairdryer is the first thing I would recommend.

If you want to try this, you are on your own, I just want to make that perfectly clear. I am not going to accept any responsibility for your results.

Things can definitely go wrong, and if you are not 100 percent confident, then you best leave this for the experts. We still have a handful of folks in the Machine Knitting Repair business, and I suggest you send your carriage to them if you are not mechanically minded.


I have NO Knitting Machine Mechanics training. I have been thinking about doing this for literally months and have studied everything I could find on the subject, including the 930 Service Manual and the one website I found with photos of something very similar on a different machine.




So, if you are still with me, here is how I unstuck my fairisle button:


I used a flat head and Phillips screw driver, a container to hold the screws and parts, a container for some mineral spirits also known as paint thinner, a bristle brush, some news paper, some paper towels, Q-tips and Formula 409 cleaner.

1. I removed the carriage and the presser plate. Then I unscrewed the handle. My machine has a motor drive, so the handle is attached by a bracket. For most machines the handle is held on by long screws.




2. I turned the tension dial to past zero to help line everything up later. I made sure the Hold button was all the way at the left. The release button should be at the left naturally.




3. Carefully, with the flat blade screwdriver I pried up around the center white disk. This disk is held on with delicate plastic feet, and I was very careful with it. If a foot breaks, it will not stay in place and I would be guessing about my tension. I also know a lot of this old plastic is very fragile.
   



4. Next I removed the screw in the center of the tension dial and lift the dial and the small center disc straight off.




5. I turned the carriage over and removed the two screws that connect the cover to the business part of the carriage. On every carriage I have examined these screws are gold colored, but that may not be true always. There are lots of screws here and removing the wrong one would mean a trip to the repair person, so I was extremely careful.



6. Next I poured a little mineral spirits into a small container (I was in a well ventilated area), and applied it to the center area and edges of the carriage. I worked with all the buttons. I let it sit for a few minutes, then wiped off the excess and repeated. I kept working with it, and soon the farisle button button was unstuck! Then using the Q-Tips, I carefully wiped off the gunky areas of the carriage. I did not want to knock anything loose!
   


7. So, all that remained was to reassemble the carriage cover and knobs and switches. There are a couple of tricky bits here. First thing I did was to wipe off the interior of the cover with the Formula 409 and a paper towel, just to get all the sticky residue that I could
   
   
8. Next, the hold button and the release lever go back into place on top of the carriage. Then place the cover over the carriage insides and reattach with the golden screws.
   I checked all the levers and buttons to see if they were working, and found out the intarsia feature would not engage, so I had to take the golden screws back out and try again. The next time everything worked. I have a photo here so you can see the placement of the levers.



9. Next I replaced the tension disc. Since I turned the dial as far as it would go before I started, I knew the position was correct.



10. The small disc that goes under the screw was a little tricky to get back on. The "bump" goes up, and The notch goes at the bottom. The notch will line up with the red line on the center plastic disk when it is snapped carefully back on. I was careful to line up the notch first then gently snap in the disk. I was still worried about those fragile feet!
    
    
11. All that remained was to reattach the handle and I was done with this repair!

I hope that my experience helps someone else. It was not too hard to do, and since we Brother/Knitking People are now on our own, we have to help one another when the repairs are fairly simple.