by cindy nelson - tkga.org. OYW… · by cindy nelson 64 Cast On • May – July 2007. slant symbol for decreases. The patterns for the lace swatches in Level 2 can be written out

We all remember our early knitting attempts. For most, the projects

had loose stitches and inconsistent tension. They probably also had

an amazing assortment of holes. Now our skills have improved and

we are not beginners. We get to create holes by choice. Those holes

set the stage for what will become lovely, intricate lace pieces.

Level 1 of the Master Hand Knitting Program requires a knitter to

demonstrate skills that lay the groundwork for lace knitting. Those

skills include blended and full fashioned decreases, yarn overs and

simple eyelets. Level 2 includes three lace swatches that are knit

using those basic skills. In Level 3 there is a circular lace swatch that

includes a central double decrease (CDD).

Lace knitting is a very old art and many patterns were handed

down orally in families and communities. In the 19th century, writ-

ing about lace knitting began to appear in England and Scotland,

including Weldon’s Practical Knitting. The history of lace knitting

and knitted lace is a fascinating study and there are many excellent

resources in the Masters bibliography.

Techniques

There is one distinction that you may encounter in patterns: the

difference between lace knitting and knitted lace. In lace knitting

the rows that include increases and decreases alternate with rows of

plain knitting. Knitted lace has lace work in every row. As you work

swatches, it may be easier to focus on knitted lace. The techniques for

both are the same. When working on a new or complex pattern it is

a good idea to add a “lifeline”. This is a smooth, contrasting yarn

added to the first row of the pattern. If there is an error in your pattern

you can rip out to the lifeline and move forward from that row.

The most common increase in lace is the yarn over (YO or yo). Some

patterns may use YF or YRN as abbreviations for yarn over. An open

M1 can also be used, but it is not common. There are many detailed

formulas for making a yarn over between knit and purl stitches. In

Level 3 you will be asked to describe each of them in detail. There is a

shorthand description that may be easier to remember: a YO always

goes over the tip of the right needle from front to back, and into

position to make the next stitch. Remember those holes from your

early work? Some of them were dropped stitches, but some occurred

because the yarn was in front of the needle before the next stitch was

knit. That is precisely how a YO is created between two knit stitches.

YOs should always be snug on the needle so the holes they create are

even and consistent. Please note the YOs below the green markers in

sample swatch 1. They should be tightened to improve the swatch.

Excess yarn in a loose YO can create “floats” or oversized stitches.

Always keep the YOs snug on the needle as you create the next

stitch.

All YOs create increases and are balanced by decreases if the stitch

count is to remain constant from row to row. Not all lace includes

eyelets. Decreases and YOs may not be side by side, or even in the

same row in some patterns, and sample swatch 3 is an example.

Lace patterns such as shawls will also use YOs to increase the size or

change the shape of the piece.

Like YOs, the decreases should be snug with no stretched stitches.

In sample swatch 1 the decreases to the right of the red markers are

stretched or loose. Keep the decreases on the tips of your needles and

baby them as you work to reduce this stretch. There are right and left

slanting and double decreases in lace work. You will find an excellent

discussion of the techniques in a two-part article by Arenda Holladay

in the Spring (February – April 2005) and Summer (May – July

2005) issues of Cast On and in an “On Your Way to the Masters”

article archive in the Member section on the TKGA Web site.

Effects

Various combinations of YOs and decreases create different effects in

lace. For example, placing the YOs and decreases side by side creates

eyelets. Check swatches 11 and 12 from your Level 1 submission.

The eyelets vary in relation to YO placement and type of decrease

used. June Hemmons Hiatt distinguishes smooth and broken eye-

lets. Smooth left is a YO before a right slant, and smooth right is a

YO after a left slant. Broken left is a YO before a left slant, and broken

right is a YO after a right slant. In sample swatch 2, the right side of

the swatch is worked with broken eyelets and the left side is worked

with smooth eyelets. The pattern is the same, but the effects are

different. Broken eyelets create the look of an “outline” for the YOs,

and the smooth eyelets create less definition and smooth fabric.

Charts and Gauge

Most lace knitting patterns include charts, which makes reading

easier. Each chart includes a key, which defines the symbols used.

The most common symbols for lace are: O for YO, and a right or left

O N Y O U R W A Y T O T H E M A S T E R S

Lace by cindy nelson

64 Cast On • May – July 2007

slant symbol for decreases. The patterns for the lace swatches in Level

2 can be written out or you can use charts. The lace swatches for

level 2 must be bordered by seed stitch, which makes blocking easier

and gauge numbers more reliable. After the swatches are blocked

(dressed), measure the lace within the borders and make your calcu-

lations based on those numbers. When you are swatching for your

lace projects, it is a good idea to border those swatches as well.

Blocking (Dressing)

The last step for lace is blocking, also called dressing in some re-

ferences. This is a critical step and should not be taken lightly. Lace

can look like a rumpled mess when it comes off the needles. It is

essential that the work is stretched out and the pattern opened up.

Wet blocking is an appropriate method and lace requires a lot of rust-

proof pins. Blocking wires are a useful alternative to pins for block-

ing straight or curved lace edges. A cord can also be laced through

the points for that type of lace edge and then pinned out to size and

shape. Blocking frames, used in the Shetland Islands, are good for

large pieces, which are often blocked under tension. When blocking

swatches, stretch the piece to the correct size and shape before pin-

ning. A border on the swatch makes the blocking process easier.

Conclusion

What does the committee want to see in lace swatches? First, ap-

propriate yarn choice. Use a fine or superfine yarn, preferably in wool

or wool blend that is smooth and light colored. Cotton yarn can be a

wonderful choice for lace doilies, tablecloths, and summer afghans.

It can be difficult to maintain good tension in cotton, and the use

of starch is discouraged for swatches. Second, appropriate choice of

pattern. The pattern must be of a size to work sufficient multiples and

repeats while staying within the required swatch size. Consistent ten-

sion is very important and can be the make or break point. The YOs

and decreases must be even and consistent throughout the piece.

Good finishing is extremely important, and a poorly blocked swatch

is not acceptable. Please take great care with this step.

Work within your skill set and don’t try to do something overly

complicated. The committee has seen it all before. It is much better

to do an excellent job on a simple piece showcasing your best work.

Beautifully done, simple patterns are truly works of art.

Finally, we offer a note of caution. Lace knitting can be addictive.

Once you start you may find yourself scouring your local yarn store

for books and yarn to add to your stash.

ReferencesAmedro, Gladys, Shetland Lace, The Shetland Times Ltd, 1996Hiatt, June Hemmons, Principles of Knitting, Simon and Schuster, 1988Miller, Sharon, Heirloom Knitting, The Shetland Times Ltd, 2002Sowerby, Jane, Victorian Lace Today, XRX Books, 2006Stove, Margaret, Creating Original Hand Knitted Lace, Lacis Publication, 1995Waterman, Martha, Traditional Knitted Lace Shawls, Interweave Press, 1998

Editor’s Note: Special thanks to TKGA Master Hand Knitting Committee members Carolyn Vance, Joan Janes and Moira Ravenscroft for their valuable contributions to this article.

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