Top-Down Crochet Sweaters: Fabulous Patterns with Perfect Fit
176
Top-Down Crochet Sweaters: Fabulous Patterns with Perfect Fit
176eBook
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Overview
Product Details
| ISBN-13: | 9781612126111 |
|---|---|
| Publisher: | Storey Publishing, LLC |
| Publication date: | 09/20/2016 |
| Sold by: | Hachette Digital, Inc. |
| Format: | eBook |
| Pages: | 176 |
| Sales rank: | 966,338 |
| File size: | 24 MB |
| Note: | This product may take a few minutes to download. |
About the Author
Dora Ohrenstein is a leading crochet designer, author, and teacher. She is the author of Top-Down Crochet Sweaters and The Crocheter’s Skill-Building Workshop, which is being hailed as a must-have resource by the crochet community. Ohrenstein’s chic and innovative designs appear regularly in Interweave Crochet, Crochet!, Crochet World, Vogue Knitting Crochet, and many other print and online magazines. She is the co-editor of Crochet World's “Talking Crochet” column, and she has written for various other publications about crochet history, international traditions, and techniques.
Read an Excerpt
CHAPTER 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 top-down 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 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.
THE BROAD STEPS TO THE TOP-DOWN METHOD
1. Work the yoke of the sweater, beginning at the neckline and increasing stitches regularly until reaching the bottom of the armhole.
2. Divide the garment into four sections for front, back, and two sleeves.
3. Add underarm stitches that connect the front and back body sections of the sweater.
4. Work the body of the sweater.
5. Join yarn at the bottom of the sleeve cap and work the sleeves.
6. Complete
NECKLINES: AN OVERVIEW
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.
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.
When you begin working your top-down garment, keep these points in mind:
* 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.
NECKLINES
Below 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.
YOKE SHAPING
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 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, seehere.) 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 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 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.
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 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.
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 of stitches for front, back, and each sleeve and then connect them in the same way we do in raglan style.
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.
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 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 Cardiganfor more details on how.
BUILDING NECKLINES
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 close-fitting 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.
BUILDING THE NECKLINE
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 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.
(Continues…)
Excerpted from "Top-Down Crochet Sweaters"
by .
Copyright © 2016 Dora Ohrenstein.
Excerpted by permission of Storey Publishing.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Introduction: Why Crochet from the Top Down?Top-Down Construction Basics
A Note about Yarns
The Garment Pairs
Part I: The Techniques
1 The Top-Down Crochet Method
Necklines: An Overview
Yolk Shaping
Building Necklines
Trying On the Yoke as You Go
Creating the Underarm
Beginning the Body
Working the Sleeve
2 Additional Techniques for Top-Down Garments
Mastering Stitches
Gauge and Drape
Blocking Your Swatch
Choosing Yarns
Blocking Your Garment
3 Making Your Garment Fit
All about Ease
Measuring Yourself
Measuring a Favorite Sweater
How to Read a Schematic
How Sweaters Fit Your Body
Choosing a Length
Fibers and Fit
Making Alterations
Part II: The Patterns
Ava and Bettina
Isola and Chloe
Luna and Janelle
Jade and Magda
Rosina and Isabel
Genevieve and Zora
Nanette and Erde
Index
Abbreviations
Acknowledgments
Metric Conversion Chart