Yarn Under vs Yarn Over

     

Honestly, I have no idea where to begin. This month's post is an accumulation of ideas that all came together almost by accident. There has been a three way conversation, with emails pinging across continents. So hold on to your hats and don't forget to comment if you have more to add to the conversation!

    Many moons ago the lady I choose to refer to as, The Researcher, asked me to investigate 'yarn-over vs yarn-under'. At that time I had nothing useful to say. Time goes by, and I have become fascinated by the Tapestry crochet that Anna, aka 'Mmatildas virkstad', creates and the Scandinavian tradition that inspires her work. Tapestry crochet is something that (I thought) I could not do.

 

    Before we go any further, let's make sure we all under stand the concept of yarn-over and yarn-under!

 When we make a double-crochet (Sc-US), we pull up a loop in the next stitch. The yellow loop, shown here, becomes the post of the new stitch. The green loop, which completed the last stitch becomes the top of the new stitch.

At this point we pull through a new loop which becomes the top of our next stitch. In this image I am creating a 'yarn-over'. The yarn comes from behind the hook, it goes up over the back of the hook and down over the front. Then round the bottom to the back again. This is so basic that we do it instinctively with no thought at all!

To create a 'yarn-under', the yarn still comes from the back of the hook, but this time it goes down the back and up the front before being pulled through the stitch. This creates the post of the stitch.

There is a slight difference the second time we pull through a loop. Now the yarn is already at the bottom of the hook, so the the yarn is simply brought up in front of the hook and pulled through.

 

    Now back to Tapestry crochet! 

When you work Tapestry crochet you must work holding the right side facing forwards at all times so that you can carry the unused colours at the back of the work. This means you must work in the round. 

All my swatches, from here on, are worked in the round but I have added a 4 chain at the end of each round. I have cut through the chain to create a flat fabric. This technique is referred to as 'Steeking' in knitting.

 

    When you work Double-crochet (UK, Sc-US, Fast maska- Swedish!) in rounds the stitch pattern quickly starts to lean to the right. How is this to be overcome?

Anna suggested that I should try working into the back-loop-only to achieve a more upright design. What you may not see from these images is that, by working into the back-loop-only the swatch becomes taller and the fabric has more drape.

 

I had it in my head, that working 'yarn-under' stitches would create a more upright pattern. As we have seen, in each Dc there are two opportunities to choose yarn-under or yarn-over. I worked up a swatch using yarn-under on both the post and the top of the stitch. I am convinced that the stitches stand a little straighter. You will notice that the stitches appear more like little X's than V's.

Just as before, I worked exactly the same, with yarn-under both for the post and top loop, but this time working into the back-loop-only. This is the best result so far.

  

You may have read that yarn-under creates a stiffer fabric which is shorter and can be useful when making amigurumi.  This is because the yarn takes a shorter path around the hook, and therefore you pull through less yarn for each stitch. With little effort, it is easy to increase the height of your stitches by pulling up taller stitches. The Dc still retains the crossed appearance because of the yarn-under technique. Rather like knitting, it tends to add a twist to your working yarn, rather than loosen it in the way that we crocheters are used to.

  

What, I wonder, is causing the more upright design? Is it the 'x' of the post, or is it working yarn-under for the top of the stitch? Let's be scientific! I worked another swatch using yarn-under for the post, creating that little 'x', but yarn-over for the top loop. This is not the solution!

Here it is again worked into the back-loop-only. Possibly it is less successful than the green version?

Let us try a yarn-under on the top-loop-only. Is it a little straighter or am I fooling myself? 

Working the same, into the back-loop-only once again. I am convinced this is the solution. I shall test it with a larger sample worked, yarn-under on the top-loop-only and into the back-loop-only!

I am happy with this. What do you think?

I still have a lot to learn about tapestry crochet. On my squared paper this design was completely symmetrical. Rounder more curvy designs will work better than angular ones, says Anna. I need to be more Art Nouveau and less Art Deco!

  

It is only now that Anna tells me, it is actually possible to work tapestry crochet in turned rows! Guess what I will be experimenting with for the rest of the month?

 

Fastening off...

 

    

 

Live loop Crochet Cables

I've had a revelation!

I have been crocheting for over ten years and must be, by any definition, an experienced crocheter. And yet, the foundation of my crochet world has just shook. In my rush to learn everything it seems I have missed a basic understanding of crochet anatomy. I'm talking about the Live Loop or Golden Loop.

 

Let me explain!

When we are crocheting a Double Crochet (Sc-US) we begin with a loop on the hook. This loop will become the top of our next Dc.

 

Then we pull up a loop in the next stitch. This is the golden loop. This becomes the post of our Dc. The height of this loop determines the height of our finished stitch.

Next we have to join the post and top loops to complete the stitch. To do this we 'yarn over' and pull that loop through both the post-loop and top-loop.

Our Dc is completed. And the loop on the hook becomes the top of the next stitch.

 

But, what if we don't make that final stage?

What if we pull that final loop through just the post-loop?

We have created a Live Loop. A stitch which is still 'live' because it is not completed. 

 

Look we can create a whole row of 'live-loops'...

Then remove the hook and finish each in turn simply by pulling the live-loop through the preceding stitch.

 

Sometimes the best ideas are the simplest. Grounded in a thorough understanding of the physics of crochet, Sue Perez, aka Mrs Micawber, has found a way to create cable stitches using live-loops. She published her book, Live Loop Cables in Crochet, in 2020 and I have been putting off learning this skill for no good reason I can think of! Sue Knits and crochets, I think this idea is derived from her knowledge of both crafts. I am not a knitter and I am a little over awed by the whole idea!

 

Fortunately, Sue has made this handy video for us. She explains it all so much better than I ever can!

 

I made this using the Practice Swatch.

Working in the round, from the front only, the cables are straight forward and prove no difficulty.

 

Block One: Straight Cables

 

Working in rows, from the back and front, the cables are a little different and require more attention. There seems to be a lot of information at the beginning of the book which you might find off putting. Don't panic! The stitch patterns are organised in a systematic way. If you work through them, one by one, your skills will develop in easy steps. At the start of each new design you are told what you will learn and where, in the book, you will find the technical information.

 

Block Two: Meeting in the Middle

 

There are 25 stitch designs which each form a patchwork block. You can use the blocks to make the scarf in the pattern section. Or you could make one of the other ten patterns which are varied and interesting.

Block Three: Travelling Cables

In my first attempt at these cables I failed miserably! There is a lot to take on board, and, like a bad workman I blamed my tools. Sue recommends we begin with a worsted weight yarn and at least a 5mm hook. As a non wool user the right kind of yarn is hard to find. The samples I made here use VeganYarn.Co.UK's Chunky weight Cotton Bouclé.

We also need a stitch marker to park the live loops on. Sue recommends a hair grip bent in a certain way to form a sort of closed 'U' shape. Once I had the right tools and watched Sue's videos, I found I could finally make progress!

What's so good about live loop cables? Well for one thing they can be made to bend in any direction. They are soft and flexible. They can cross and create all of the classic knitted Aran designs. Unlike the post stitch versions they're not heavy or stiff. The cables are, in effect, made on the surface of your fabric, so they don't leave those little holes in the fabric that happen when working with post stitches.

Block Four: Raised Cables with Bobbles

Sue's book is still available, so I suggest you grab a copy quick. If you have it already and like me didn't initially make progress. Go on, give it another go!! My advice for using this book would be to gather together some Aran/Worsted weight yarn, large hooks and the stitch markers. Then read through the Chapter on Necessary terms before skipping ahead to the practise swatch. Work your way systematically through the stitch patterns. As you progress you will find your understanding growing. From time to time you may want to refer back to the other information in the book, when Sue directs you to. By the time you get to the projects you will be an expert!

Block Five: Curved Cables with Popcorns

 

At the start I struggled to make the most simple of cables. Indeed, experienced Live-Loopers will spot mistakes in these blocks! But, with each mistake my understanding increases and with each new challenge my skill level rises.

 

Block Six: Honeycomb Cables

 

It has reminded me of what it was like to learn to crochet in the first place. All of the things I once struggled with; like how to hold the hook and yarn, I no longer give a seconds thought. 

 

Block Seven: Flat Rope Cables

 

I have been recording my progress on my Ravelry page. Besides, I will continue to add my progress to this blog post, but I expect you will be wanting a new post next month, so progress may be intermittent! 

Block Eight: Ropes and Antlers

 

Fastening off...

 

  

Block Nine: Simple Crossed Cables

Block Ten: Offset Crossed Cables

Block Eleven: Double Helix

Block Twelve: Twisted Twist

Vintage Quick Crochet Suit

 

What is the oldest item in your wardrobe?

Perhaps it's your first pair of shoes or an inherited wedding dress. What ever it is, I bet it carries with it memories and history. When we view faded finery in a museum we often don't know the history that comes with that garment. Who made it, why was it made and when was it made?

 

I want to share with you a piece of crochet history and a bit of personal history. I have just been gifted a 1970's crochet suit. Not only do I know who made it, but I also know when and why it was made. And, best of all, I have the original pattern from which it was made.

 

Me and my big sister!

Sometime between 1970 and 1972 my family and I were living in Skipton, West Yorkshire. I mention this, because besides being part of this story, Skipton is important in the history and current story of yarn. Even if you are not British you may very well have heard of the yarn festival, Yarndale, which takes place every September in the town.

 

The name Skipton comes from the Anglo Saxon words 'sceap', meaning sheep, and 'tun', meaning town. West Yorkshire was an important area in the history of wool, becoming very wealthy until modern fabrics, foreign competition, and Australian Merino wool supplanted it's importance.

The secret to the towns success probably stems from the fact that a Norman castle was built in the town sometime after 1090. You'll find it at the top of the High street. In 1204 the King granted a charter for a weekly market in sheep and woollen goods. Later the arrival of the Leeds to Liverpool canal helped trade to flourish during the Industrial Revolution. 

If you could take a time machine back to sometime around 1970, to that very same High street, you might spot my Mum and Godmother, Anita, admiring a crochet jacket and skirt in the window of a wool shop. Later that same year Anita had a wedding to attend and thought the crochet suit would be perfect. To hear Anita tell it, they bought the pattern and yarn, my Mum taught her to crochet and on returning home Anita finished it in time for the wedding! When I think of all the patterns that are available today for a beginner, I can't imagine anyone making this suit as their very first project.

Shall we look at the pattern? This is the original copy Anita used to make the outfit. It is a little the worse for wear, but the fact it still exists is amazing, don't you think? Ravelry tells me that this pattern was first published in 1966, although this copy is a later edition. Look who that is modelling the outfit. It's Twiggy, arguably Britain's very first supermodel. When was the last time you saw a supermodel on the cover of your crochet pattern? It tells us something about crochet in the sixties and seventies. Gone is all that fiddly Victorian crochet, gone the Irish crochet doilies, gone the Filet panels. We have thrown off the utilitarian war time knitting. Now crochet is bold and modern and for the young.

 

The pattern is by Twilleys of Stamford, Lincolnshire. Founded by the yarn manufacturer H.G.Twilley in 1936. Later the company was bought by Thomas B. Ramsdens of Guiseley near Leeds. I mention this because Guiseley is a mere 20 miles away from Skipton and so it brings our story neatly back to where it began!

 

We can make this pattern in Twilley's Crysette No3 Cotton, or as Anita chose, in their Stalite No3 Soft Cotton. The hooks we need are Nos. 14 and 12 which I believe are 2mm and 2.5mm in modern sizes. Interestingly the pattern can be made for a 32, 34, or 36 inch bust (81,86,or 91cm). There is no size inclusion here! I notice the pattern is priced at one shilling (1/-) or 5 pence. Britain took up the decimal currency on the 15th February 1971 so even the price of the pattern tells us something about the social history of this era!

The jacket is constructed from panels worked from the top down, which gives the hems their scalloped edge. It begins with the smaller hook until the 8th row when the larger hook size is used and the stitch pattern is increased at the end of the rows. This makes the panels flare towards the bottom and shapes the sleeves and arm hole. The sleeves are made in a similar way but with additional increases. Even the collar is made separately. The button band is crocheted directly to the jacket front edges with six buttons.

 

Unlike a modern pattern there is no mention of blocking, instead we are told to; 'Press work lightly on the wrong side with a warm iron over a damp cloth.' This is what we did before steam irons! I remember my Mum ironing in this way using either a damp tea-towel or a damp muslin cloth.

 

The skirt is also made the same way, from a single panel worked from the top down, changing hook size at row 8. Along with the increases, this creates that classic 1960's A-line skirt. It is seamed along the back. The waistband is simply rows of Dc (Sc-US) and finished with elastic on the inside of the band.

 

This little swatch shows the first rows of the sleeve and shows how the increases are made.

 

All in all the instructions are brief, to say the least. They require us to have plenty of confidence and knowledge. We are not even told what size buttons are needed. I am not sure that the designer would be able to sell patterns in this modern era! Would we tolerate these meagre instructions? I tore my hair out trying to work out the stitch pattern and find how the increases were made. In the end I had to refer to Anita's work to find out what she did!

 

I am very proud to now own this piece of our crochet history and my own family history. I was surprised at how comfortable the jacket was to wear and how modern it still looks. Anita has kept it in such a good condition that it looks as if she finished making it only yesterday! Once again I am in awe of those who crocheted before us!

 

... Fastening off