Перейти к скачиванию этого материала в оригинальном виде.

A fabulous collection of handknit patterns from America's most talented
knitwear designers.
Featuring over 40 of the best designs from Vogue' Knitting magazine.
Included are sweaters, accessories, home accents and more with something for every member of the family.
Each project features gorgeous, full-color photographs and easy-to-follow instructions updated with the latest yarns.
ISBN 1-931543-10-
9 781931 5431
Nicky Epstein Norah Gaughan Deborah Newton Kristin Nicholas Mari Lynn Patrick Michele Rose Meg Swansen
■OTPinlBiBwiiiHBr' ICn
Elizabeth Zimmermannj
Table of Contents
• Introduction
• Before You Begin
Yarn Selection Gauge
Reading Patterns Following Charts Knitting Terms and Abbreviations Needle Chart
• Pain Allen
Mother & Daughter Cherry Cardigans 12 Crazy Quilt Jocket 18 Ribbed Pullover 22 Child's Ccrdigan 25
• Lilv Chin
Reversible Rib Shawl 30 Colorful Caps 32 Embroidered Cardigan 34 Mohair Aran 38 Draped Pullover 41
• Nicky Epstein
Tapestry Afghan & Hal 46 Diamond Aran 50 Paper-Doll Sweater 54 Chenille leaf Pullover 57
• Norah Gaughan
Cabled Vest 62 Aline Tunic 65 Ribbed Cardigan 69 Drcgonfly Pullover 72
• Kristin Nicholas
His-and Hers Pullovers 78
leaf Pullover 84 Classic Guernsey 87 Embroidered Pillow 90
• Deborah Newton
Pleoted Pullover wilh Bows 94 Cashmere Pullover 97 Shawl-Collared Cardigan 100 Pink Pullover 103 Gauntlet Gloves & Hat 106
• Mari Lynn Patrick
Summer Tunic 112 Summer Dress 115 Toilored Jacket 118 Wrapped Pullover 121 Cashmere Shawl 124
• Michele Rose
Fair Isle Pullover <3, Cap 128 Western Jacket 132 Patchwork Cardigan 135 Fair Isle Pullover 138
• Meg Swan sen &
E1 i z a I ) e t h Z i m m e r in a n n
First American Aran 144 Twisted-Stitch Cop 147 The Moebius Ring 150 The Tomten Jacket 152 Garter-Stitch Blanket 154 Best Baby Sweater 156
• Resources \y-
• Ackn owledgemcnts
Before You Begin
This book was designed as an anthology of patterns. For more precise technical explanation. refer to Vogue Knitting—The Ultimate Knitting Book (New York: Pantheon Books). See page 159 to order.
YARN SELECTION Some of the yarns, or colors, used in the original designer patterns are no longer available. We have provided substitute yarns readily available in the U.S. and Canada at the time of printing. The Resources on page 158 lists addresses of yarn distributors—contact them for the name of a retailer in your area or for mailorder information.
If you wish to substitute a yarn, check the gauge carefully to ensure the finished garment will knit to the correct measurements. To facilitate yarn substitution. Vogue Knitting grades yarn by the standard stitch gauge obtained in stockinette stitch. There is a grading number in the Materials section of each pattern. Look for a substitute yarn that falls into the same category—the suggested gauge on the ball band should be comparable to that on the Yarn Symbols Chart (right).
After successfully gauge-swatching in a substitute yarn, you'll need to determine yarn requirements. First, find the total length of the original yarn in the pattern (multiply number of balls by yards/meters per ball). Divide this figure by the new yards/meters per ball (listed on the ball band). Round up to the next whole number. The answer is the number of balls required.
GAUGE
To ensure a successful project, always knit a gauge swatch before beginning. Normally, gauge is measured over a four-inch (10cm) square. Using the needles and yarn suggested, cast on enough
stitches to knit a square at least this size. Gauge is usually given in stockinette stitch, but if the pattern calls for a specific stitch, work this stitch for the swatch. Measure stitches carefully with a ruler or gauge tool. If the swatch is smaller than the stated gauge (more stitches per inch/cm), try larger needles If it is larger (fewer stitches per inchfcm), use smaller needles. Before proceeding, experiment with needle size until the gauge exactly matches the one given.
If a pattern calls for knitting in the round, it may tighten the gauge, so if the gauge was measured on a flat swatch, take another reading after beginning the project.
READING PATTERNS
Each pattern is rated for technical ability.
YARN SYMBOLS
The following numbers 1-6 represent o range of stitch gauges. Note that these numbers correspond to the standard gauge in stockinette stitch.
1 FINE WEIGHT (29-32 stitches per 4710cm)
Includes baby and fingering yams, and some of the heavier crochet colons.
2 LIGHTWEIGHT (25-28 stitches per 4'/ 10cm)
Includes sport yam, sock yam, UK 4-ply and lightweight DK yarns.
3 MEDIUM WEIGHT (21-24 stitches per 4710cm)
Includes DK and worsted, the most commonly used knitting yarns.
4 MEDIUM-HEAVY WEIGHT (17-20 stitches per 4710cm)
Also called heavy worsted or Aran.
5 BULKY WEIGHT (13-16 stitches per 4710cm)
Also called chunky. Includes heavier Icelandic yarns.
6 EXTRA-BULKY WEIGHT (9-12 stitches per 4710cm)
The heaviest yarns ovoiloble.
Choose a pattern that fits within your experience range. Read all instructions thoroughly before starting to knit a gauge swatch and again before beginning a project. Familiarize yourself with all abbreviations (see Knitting Terms and Abbreviations, opposite). Refer to the Vogue Knitting book for clear explanations of any stitches or techniques you may not be familiar with.
Generally, patterns are written in several sizes. The smallest appears first, and figures for larger sizes are given in parentheses. Where only one figure appears, it applies to all sizes. Highlight numbers pertaining to your size before beginning.
Knitted measurements are the dimensions of the garment after all the pieces have been sewn together. Usually, three measurements are given: finished chest; finished length; and sleeve width at upper arm. The finished chest measurement is the width around the entire sweater at the underarm. For cardigans, the width is determined with the front bands buttoned. Finished length is measured from the highest point of the shoulder to the bottom of the ribbing. Sleeve width is measured at the upper arm, after all increases have been worked and before any cap shaping takes place.
Schematics are a valuable tool for determining size selection and proper fit. Schematics are scale drawings showing the dimensions of the finished knitted pieces.
Work figures given inside brackets the number of times stated afterward. Directions immediately following an asterisk are to be repeated the given number of times. If the instructions call for working even, work in the same pattern stitch without increasing or decreasing.
VOGUE KNITTING AMERICAN COECTION
KNITTING TERMS AND ABBREVIATIONS
approx approximately beg begin(ning)
bind off Used to finish an edge and keep sfrtcbes from unraveling, lilt the first stitch over the second, the second over the third, etc. [UK: cost off)
cast on A foundation row of stitches placed
on the needlo in order to begin
knitting.
CC contrast color
dc double ciochot (UK: tr-treble)
dec decreoseling)—Reduce the stitches in a row {knit 2 together).
dpn double-pointed needle(s)
foil folMs)|ing)
9 gfom(s)
garter stitch Knit every row. Circular knih ting: knit one round, then purl one round.
bd< haldouble aocbel (IX: htrholf treWe)
inc increase(ing)—Add stitches in o row (knit info the front orvd bock of o stitch).
k knit
k2tog krnt 2 slisches together lp(s) loopslsl LH left hand
FOLLOWING CHARTS Charts are a convenient way to follow colorwork, lace, cable, and other stitch patterns. Vogue Knitting stitch charts utilize the universal language of "sym-bolcraft." Each symbolcraft symbol represents the stitch as it appears on the right side of the work. For example, the symbol for the knit stitch is a vertical line and the symbol for a purl stitch is a horizontal one. On right-side rows, work the stitches as they appear on the chart—knitting the vertical lines and purling the horizontal ones. When reading wrong-side rows, work the opposite of what is shown; that is, purl the vertical lines and knit the horizontal ones. Each square on a chart represents
m meMs)
Ml make one stitch—Wiii the needle tip, Mt the strand between the k»l stitch worked ond next stitch on the left-hand needle and knit into tike bock ol it. One stitch has been added.
MC mo ncolcr
mm millimeters)
oz ouriceW
P pd
p2tog purf 2 ssitcbss togehe* pat pattern
pick up and knit (purl) Kn* for ps) into fe
Icops a-cng an edge.
pm place markers—Place or cttoch a loop of contrast yarn or purchased stitch marker os indicated.
psso pass stp Sifch o«er rem rcmcin(s!(ing) rep tepect
rev St st reverse Stockinette stitch—Purl right-side rows, knit wrong-skJe rows. Circular kniKng: pud c'l rounds. (UK: reverse stocking s'ifch)
md(s) xxndW
RH nghl hand
RS .tfisdeW
sc single aochst (UK: dc-daiW&acxdtetS sk skip
SKP Slip 1. knit 1, pass dip stitch ovef k puil.
si st slip stitch (UK: single crochet)
ssk slip, slip, knit—Slip next 2 stitches knit-wise, one at a lime, to right-hand needle. Insert tip of left hond needle into fronts of these stitches from left to right. Knit them together. One stitch hos been decreased.
st(s) stiJch(cs)
St st Stockinette stitch—Kn:t right-side rows, purl wrong-side rows. Circubr knitting: knit all rounds. (UK: stocking stitch)
tbl through bock of loop
tog together
WS wrong side{s)
wyif with yorn in front
wyib with yarn in back
work even Continue in pattern wi'hout increasing or decreasing. (UK: work straight)
yd yard|s)
yo yam over—Make a new stitch by wrapping the yarn over the right-hand needle. (UK: yfwd, yon, ym)
* repeat directions following * as many times as indicated.
[ ] Repeat directions inside brackets as many times as indicated.
KNITTING NEEDLES
US METRIC UK
0 2mm 14
1 2.25mm 13
2.5mm
2 2.75mm 12
3mm 11
3 3.25mm 10
4 3.5mm
5 3.75mm 9
4mm 8
6
7 4.5mm 7
8 5mm 6
9 5mm 5
10 6mm 4
105* 6.5mm 3
7mm 2
7.5mm 1
11 8mm 0
13 9mm 00
15 10mm 000
VOGUE KNITTING AMERICAN COECTION
Pam Allen
Pom Allen remembers well the firs! time she submitted designs to Vogue Knitting. "They all came back," she admits, 'but one came with a little note attached from the editor, Nancy Thomas, saying, 'We really liked this one. Il came really close to being o final. Keep up the good work.' In fact, I have that letter around here. Jusl lo have some acknowledgement that something had gotten thai close was so encourcging, because Vogue Knitting is like the pinnacle, if you con make it in Vogue Knitting you've made if. So I kept trying and trying, and finally ihey bought a little girl's sweater." That was the start of a long and fruitful working relationship between magazine and designer thai exists to this day.
Surprisingly, Pam Allen did not set oul to become a knitwear designer. In fact, after earning her master's degree in linguistics, Pam envisioned herself traveling the world teaching English. But her natural creative talent and interest in fashion and textiles kept drawing her bock to knitting, a skill she first learned as a child growing up in Chicago. She believes one of her grandmothers taught her lo knit, but she doesn't really recall clearly anymore. "As long as I can remember, I liked to make things," she explains. "For many years sewing is what I did. I always liked knits, but il wasn't until high school that I began seriously knitting." She recalls that back then, fashion magazines like Mademoiselle and Clamour published knitting patterns. "So I started knitting wilh the idea of
N>

making something that would look a little trendy," she says.
Pam never studied design formally, but instead developed her skills on the job. Taking a break from college, she worked briefly as a seamstress, then opened her own boutique, called Mariposa, in 1970. After several years of working around the clock supporting her own business, Pam decided to return to school and earned first a bachelor's degree in French, then o masters degree in linguisitcs. It was during an ccademic year in Paris that her interest in knitting was reignited. She began to knit bountifully, drawing inspiration from the beautiful ycrns and exquisite fosh-ions found in the French capital.
After graduation, Pam began selling her sweaters at a local crafts cooperative. As her work gained popularity, she decided to further her knowledge of the craft by attending
The National Needlework Association trade show in New York City. It was there that Pam's first big career break came. "I went to this trade show in New York, a yarn show," she recalls, "and as I was ieaving to go back to the airport, I got into a cab with this lady who turned oul to be Norma O'leary, then fashion and crafts editor at Family Circle. When I told her who! I did, she said, vWhy don't you send me some of those little children's sweaters?' So I did. I sent three sweaters and she bought the designs for each one."
After her first patterns were published, Pam discovered
VOGUE KNITTING 1 AMERICAN COllECTION
"1 think
for anyone
thai she could make more money designing and publishing sweaters than selling them retail. 'So I asked myself, well, there are all these olher publications, who designs for those magazines? Somebody must!" she says. "I began querying these different magazines and I sent a design I particularly liked to Vogue Knitting. It must have been 1983. The editor I spoke with said, "We really don't work that way. but we do hold presentations where we introduce all the ideas and themes we're working on. Why don't you come?" So, once again, I fiew down to New York for that one day.'
The Crazy Quilt Cardigan, pictured on page 1 8, was one of the first adult designs chosen by the Vogue Knitting editors. "I was thrilled that they picked that," she says. "The theme was the Wild West and pioneers, and my grandmother was a real Missourian, a real Ozark lady. She did a lot of quilting, c lot of rag-rug making, and I think my appreciation of that kind of thing really came from her. So there was a sentimental aspect. I also like the idea of recycling things into another medium, going from one to another.' Pam also enjoyed working collaboratively with the magazine editors. "The woman I worked with at ^/ogue Knitting was really helpful." she recalls. We'd folk about different embroidery stitches and what I was doing." She remembers the editors suggesting a different shape for the cardigan, and she admits being pleased
who knits, there's just something in the actual act of doing it that's very
satisfying.
with the result. "That's one of the nice things about working for a magazine," she says. 'Sometimes il is frustrating when they change things, but most of the time I'm happy to compromise, and I learn sometimes by doing something differently."
Unlike many professional designers, Pam doesn't farm out her projects to other knitters. Instead, she prefers to knit each garment herself, developing and shaping her designs as they are being created. "I come up with a basic plan," she explains, "but I never really stick to it. I always change it some way or another, which is one of ihe reasons I don't have other people knit for me. I'm a terrible perfectionist.'' She acknowledges, though, that such a high degree of perfectionism limits the volume she can generate. And after years of hard work, Pam has reached a point in her career when she no longer designs on pure speculation, preferring instead to have editors call with a specific request.
An avid reader and devoted mom, Pam lives with her children in the picturesque coastal town of Camden, Maine. Much as she views knitting as an evolutionary process, Pam is reluctant to set a fixed plan for her own future. While she still enjoys contributing to publications like Vogue Knitting, she would like to explore other creative paths away from the demands of editors and yarn companies. What is assured, though, is that wherever Pam goes and whatever she does, success will certainly follow.
Y)
VOGUE KNITTING 1 \ AMERICAN COllECTION
Pam Allen
Something special for you and the little girl in your life! Cheery cherries are scattered over these sweet, retrostyle cardigans. The matching sweaters are cropped short with set-in sleeves and rounded necklines. Shown in woman's size Small and child's size 6. The Mother & Daughter Cherry Cardigans first appeared in the Spring/Summer '95 issue of Vogue Knitting.
Mother & Daughter Cherrv Cardigans
O J u
FOR INTKKMI.DIATK KNITTERS
SIZES
Woynan's Version: To fit size X-Small (Small. Medium, Large).
8) or 21 (23. 25. 27)753 (58. 63. 68)cm chest. Directions are for smallest size with larger sizes in parentheses. If there is only one figure, it applies to all sizes.
KNITTED MEASUREMENTS Woman's Version;
• Bust at underarm (buttoned) 36 (39. 42. 45)791.5 (99. 106.5. 114)cm.
• Length 17 (18, 195*. 21)743 (45.5. 49.5. 53)cm.
• Sleeve width at upper arm 16 (16.
17. 18)740.5 (40.5. 43. 45.5)cm. Child's Version:
• Chest at underarm (buttoned) 26 (29, 32. 3354)766 (73.5. 81. 85)cm.
• Length 11^(12^, 12^. 1354)729 (31.32, 34.5)cm.
• Sleeve width at upper arm 11 (12. 12. 13)728 (30.5, 30.5, 33)cm.
MATERIALS
• 5 (6, 7, 8) 1-3loz/50g skeins (each approx 127yd/115m) of Lang/Berroco. Inc. Fiorina (cotton 4) in #1508 beige (MC)
• Five #/13mm buttons
• 3 (3. 4, 5) 1%oz/50g skeins of
Lang/Berroco, Inc. Fiorina in #1508 beige (MC)
• Five %710mm buttons Both Versions;
• 1 skein each in #1560 red (A). #1517 dark green (B). #1547 light green (C). #1524 grey (D), #1565 coral (E) and #1568 brown (F)
• One pair each sizes 2 and 5 (2.75 and 3.75mm) needles OR SIZE TO OBTAIN GAUGE
• Stitch markers and tapestry needle Note
Two of the original colors

Перейти к скачиванию этого материала в оригинальном виде.

Страница 1 из 8 | Следующая страница

Уважаемый посетитель, Вы зашли на сайт как незарегистрированный пользователь. Мы рекомендуем Вам зарегистрироваться либо зайти на сайт под своим именем.