THE YARN

Bio-Wool by Rosários 4 is a GOTS certified 100% organic wool yarn grown, spun and dyed in an environmentally sustainable way. Next to skin soft, we think it’s perfect for quick winter accessories and cosy wardrobe staples.

THE SWATCHES

I knit two swatches in Bio-Wool, one a simple stocking stitch sampler, and the other a wide ribbed cable from Norah Gaughan’s Knitted Cable Sourcebook. Find the cable pattern on page 110, No. 81 Rib & Rope.

The swatches feature knit and purl stitches in various combination and multi-stitch cable crosses.

Swatches use colourway Rose Pink (26).

I used a 6.5mm needle, producing a gauge of 16 stitches over 10cm in stocking stitch.

FABIC + HANDFEEL

Bio-wool produces a stunningly soft fabric, the hand-feel is light and fluffy at our knitted gauge.

I would consider it next-to-skin soft making it ideal for worsted weight (10 Ply) scarfs and hats.

The yarns multi-ply structure yields smooth stitches and well-defined cables, perfect for garments where cables and knitted texture are the feature.

Suitable for a range of projects, I’ve included some suggestions below.

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PROJECT SUGGESTIONS | Bio-Wool

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Upon its release last year we were instantly drawn to Andrea Mowry’s The Throwback - a top-down knit cardigan with cool retro-inspired colourwork detail around the yoke.

We thought the unique woolly texture and warming heathered shades of Loch Lomond GOTS would be a perfect match, so we got swatching. 

Translating and working Mowry’s design into a swatch was easy enough until we hit the three-colour colourwork... worked flat!

Though we had some initial hesitation, we were up for the challenge.

We’ve detailed our swatch notes below, including a little trick we found for controlling that third unruly yarn.

Enjoy!

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PROJECT

Swatching The Throwback by Andrea Mowry in Loch Lomond GOTS by BC Garn

AIM

To explore:

• The fabric’s hand-feel at the resulting gauge

• The suitability of Loch Lomond GOTS for colourwork, and

• A method for working three-colour colourwork

SKILLS

• Casting on

• Casting off

• Knitting flat

• Reading charts for colourwork

• Familiarity with different knitting styles:

  • Continental (yarn held in left hand)

  • English (yarn held in right hand)

TOOLS

• 4 mm (US 6) circular needles (we used Chiaogoo Spin Bamboo Interchangeables)

MATERIALS

WAITLIST

Colour A, Moss

WAITLIST

Colour B, Beige

WAITLIST

Colour C, Curry

WAITLIST

Colour D, Fire Red

PATTERN

The swatch is for The Throwback sweater pattern published by Andrea Mowry of Drea Renee Knits. This pattern is available for purchase on Ravelry or at dreareneeknits.com.

The pattern provides a gauge of 18.5 stitches and 26 rows over 10cm (4'').

PROCESS

THE DESIGN

Casting on 38 stitches, we started with a base of 4x4 rib running into stocking stitch to test Loch Lomond GOTS in the knitted fabric.

The colourwork chart was incorporated to explore the relationship between the yoke detail and chosen colour palette.

THE SWATCH

We tried a few different needle sizes on some pre-swatch swatches. We found a satisfactory fabric was obtained on 4mm (US 6) needles, with a resulting 5 stitches per inch pre-blocking.

For the colourwork component we began by working the two-colour sections with one yarn held in each hand and catching the floats behind the work at regular intervals.

Having had some experience working the yarn from both the left and right hands, this method was quite comfortable for us and we had no trouble working either the knit or purl sides of the fabric.

THE THREE-COLOUR SECTION

Applying our colourwork method to the three-colour sections proved more challenging.

When working with a third yarn (in either hand) we found it difficult to maintain tension, catch floats evenly across the back (particularly on the purl side) and avoid disastrous tangles between the three strands.

After a few attempts at using various stranding techniques and re-organising our yarns we settled on a method that simply removed the problem!

Our solution… working only two colours across the row and slipping the stitch that required the third colour. The row was then worked again, slipping the previously worked stitches and only knitting the stitches required to complete the three-colour sequence.

This simplified working the purl-side, as the colour pattern was already established from working the knit-side and could simply be repeated – purling with two colours across the row, then working the row again with the third.

Given only six rows of the chart are worked in three-colours we found this to be a quick and easy solution.

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FINISHING

The swatch was soaked in a bath of cool water for around 5 minutes, the excess water pressed out using a towel. The swatch was pinned out on a blocking matt, attention given to aligning the stitches and smoothing out the colourwork.

The final measurements:

• Overall dimensions, 18cm x 20cm (7'' x 8'')

• Gauge, 20 stitches and 24 rows over 10cm (4'')

INSIGHTS AND OPPORTUNITIES

GAUGE

Though we didn’t quite reach the pattern’s gauge, our measurements indicate that this yarn would be a viable option for The Throwback. A quick calculation tells us that we would only need to go up one size to accommodate the variance.

Here’s what we did (using inches for simplicity):

Our size - Size 3, Bust 43''
Our gauge - 5 stitches over 1''

Number of stitches required for our size:

43 (bust size) * 5 (our gauge) = 215 stitches (around the bust)

At Size 3 (bust 43'') and the pattern gauge of 4.6 stitches over 1'', we would have too few stitches:

43 (bust size) * 4.6 (pattern gauge) = 198 stitches (around the bust)

198 (no. stitches at Size 3) / 5 (our gauge) = 39.6'' Bust

At Size 4 (bust 47'') and a pattern gauge of 4.6 stitches over 1'', we get a close match:

47 (bust size) * 4.6 (pattern gauge) = 216 stitches (around the bust)

216 (no. stitches at Size 4) / 5 (our gauge) = 43.2''

Therefore, our corresponding size with the required stitch count is Size 4!

FABRIC

Loch Lomond GOTS bloomed to produce a smooth and homogenous fabric with well-defined colourwork detail.

The woolly texture and tweedy appearance make for a wonderfully rustic hand-feel that is both light and warm to the touch.

FINAL THOUGHTS

This little swatch was an experiment that quickly became a great lesson in working three-colour colourwork.

The colourwork method we used was particularly suited to this project given the piece is worked flat with the three colour sections only occurring over six rows.

Ultimately, giving ourselves the space to explore and experiment via swatching took away any initial apprehension we had and gave us the confidence to tackle the larger project in the future.

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An experiment stranding Semilla Grosso with Silky Kid

It’s been an exciting year here at Loom & Spindle, we’ve spent many happy hours sourcing unique yarns and fibres from all over the world to bring you a fresh palette of textures to explore. 

One of our new favourites is the GOTS certified, Semilla Grosso by BC Garn. A smooth round yarn with exceptional stitch definition.

We’ve been enjoying the process of swatching and planning projects with Semilla Grosso and we’re eager to share all our experiments with you.

Today we’re taking a look at our swatch for the Grace pullover by Denise Bayron, as featured in Laine Magazine Issue 8.

This swatch almost didn’t make the cut. Grace is knit in a super bulky weight yarn at 2.75 stitches per inch. At a standard gauge Semilla Grosso knits up much finer at around 3.5-4.5 stitches per inch. 

Our pre-swatching suggested that we just weren’t going to get gauge using Semilla Grosso, but we had one last trick up our sleeve…

Read on to find out how we untangled this ball of yarn + how to get a 10% discount on the Semilla Grosso range!

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PROJECT

Swatching Grace by Denise Bayron using Semilla Grosso and Silky Kid

AIM

Knit a swatch for the Grace pullover to explore:

• If an appropriate gauge can be obtained using Semilla Grosso

• The fabric’s hand-feel at the resulting gauge, and

• The suitability of Semilla Grosso for a pullover intended for a ‘super bulky’ weight yarn

SKILLS

• Casting on

• Casting off

• Knitting flat

• Working a simple cable pattern

• Translating pattern instructions into swatch parameters

TOOLS

• 5mm (US 8) knitting needles (we used Chiaogoo Spin Bamboo Interchangables)

MATERIALS

1 x WHITE (01)

1 x NATURAL WHITE (003)

DESIGN

The swatch was based on the Grace pullover by Denise Bayron, as published in Laine Magazine Issue 8.

The swatch itself was to be very simple, we wanted to test Semilla Grosso in the knitted fabric and also work-in a 1x1 rib and one cable repeat to see how the design details would translate. The resulting swatch was knit over 26 stitches incorporating these design elements.

DEVELOPMENT

The pre-swatch – Semilla Grosso

We tried a few different needle sizes on some pre-swatch swatches. 

Using the needle size recommended in the pattern, 9.0 mm (US 13), the resulting fabric was extremely loose and airy and was not going to be suitable for garment construction.

 Sizing down, the fabric was more cohesive but lacked structure.

We found a satisfactory fabric was obtained on 4mm (US 6) needles, with a resulting 5 stitches per inch. The fabric was smooth, felt durable and had spring. Unfortunately, at this finer gauge the pattern as written would become unworkable for our intended size.

The final Swatch - Semilla Grosso stranded with Silky Kid

Before giving up we tried one last swatch stranding Semilla Grosso with Silky Kid by Kremke Soul Wool. Our theory was, that by adding a strand of mohair we could knit at a looser gauge with the mohair halo filling in the ‘gaps’ to help maintain the structure of the fabric.

So finally, on 5mm (US 8) needles we discovered a soft silky fabric that had both stitch definition and structure, was surprisingly drapey and had a luxurious halo. And, the resulting gauge would allow us to work the pattern as written with only a few minor adjustments!

FINISHING

The swatch was soaked in a bath of cool water for around 5 minutes, the excess water pressed out using a towel. The swatch was then pinned out on a blocking mat, attention given to straightening the cable detail and aligning the stitches before being allowed to dry.

Final measurements:

• 14 stitches over 10cm (4'')

• 20 rows over 10cm (4'')

• Overall dimensions, 15cm x 15cm (6'' x 6'')

INSIGHTS AND OPPORTUNITIES

GAUGE

With our pre-swatches telling us that Semilla Grosso and the Grace pullover might just not be compatible, we were really pleased to find a workable gauge when adding a strand of mohair.

FABRIC

Semilla Grosso delivered smooth well-defined stitches, making the cable pattern pop. The mohair halo supported the looser gauge and provided structure and durability to the knitted fabric. These elements all came together to create a drapey fabric with a lustrous look and silky hand-feel.

FINAL THOUGHTS

The super bulky weight yarn used in the pattern lends a certain look and feel to the original piece. Though we haven’t recreated this fabric, we think we’ve come up with something interesting that could be applied to this pattern with great results.

Ultimately, stranding Semilla Grosso with Silky Kid turned the Grace pullover into a viable project option for these yarns. We’ve done some preliminary calculations on working the pullover at this gauge and think we’ll get some exciting results. Stay tuned!

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Swatching with Cotton Fine

A knitted sample of Tegna, by Caitlin Hunter

Here at Loom & Spindle, we’re proud omni-crafters! Passionately dabbling in all things fibre.

Today we’re taking a look at our first knitted swatch for Cotton Fine. Specifically, a sampler of Caitlin Hunter’s popular Tegna pattern.

We thought this light-weight summer style would be a good match for this sumptuous blend of Pima cotton and merino wool.

We knit the swatch to explore the interaction between gauge, knit fabric and fibre and assess the suitability of the yarn for a knitted project featuring lacework.

Below, we’ve included our notes on how we interpreted the pattern to become a swatch and our thoughts on the resulting fabric.

This ‘recipe’ is a great starting point if you want to have a go at swatching for your next knitting project.

P.S. At the end we’ve detailed the yardage required for all sizes should you wish to knit your own!

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PROJECT

A knitted sample of Tegna by Caitlin Hunter, using Cotton Fine by Brown Sheep Co.

AIM

Knit a swatch in Cotton Fine to explore:

• The fabric’s hand-feel at the resulting gauge

• The suitability of Cotton Fine for lacework, and

• Knitting garments in Cotton Fine

SKILLS

• Casting on

• Casting off

• Knitting flat

• Reading charts for lacework

• Familiarity with decreasing, yarnovers, knitting through the back loop

• Translating pattern instructions into swatch parameters

TOOLS

• 3.25 mm (US 3) circular needles (we used Chiaogoo Spin Bamboo Interchangables)

• Scissors

• Tapestry needle

MATERIALS

WAITLIST

1 x VINTAGE LINEN

PLANNING

We focused on setting parameters for the piece and interpreting the pattern to accommodate the swatch.

SIZE

• Working with the patterns suggested gauge of 22 stitches over 10cm (4'') in stocking stitch and the stitch count for the lace repeat, we decided three lace repeats would provide a reasonable sample size and a visually balanced sample.

• 60 stitches were required for the cast on.

SETUP

• Cast on: Long-tail method

• Cast off: A tapestry needle to thread the yarn tail through live stitches

LACEWORK

• The pattern details the lace repeat both written (worked in the round) and as a chart.

• We chose working with the chart as the visual aid was convenient when working the swatch flat.

• We used stitch markers to define the beginning and end of each lace repeat.

NOTES

• As 3.25mm was the needle size suggested in the pattern, we thought this would be a good starting point to explore gauge.

• Our swatch will be knit flat as noted above. Please note the Tegna pattern, as written, is worked in the round.

METHOD

STEP 1

60 stitches were cast on using the long-tail method.

STEP 2

The lace repeat was worked flat until the end of the chart.

STEP 3

Approximately 10cm (4'') was knit in stocking stitch to complete the swatch.

STEP 4

The live stitches were secured by simply threading the yarn tail through the loops using a tapestry needle.

FINISHING

The swatch was soaked in a bath of cool water for around 5 minutes, the excess water pressed out using a towel. The swatch was then pinned out on a blocking matt, attention given to opening up the lacework and aligning the stitches that frame the lace detail.

GUAGE

The final measurements were:

• 22 stitches over 10cm (4'')

• 28 rows over 10cm (4'')

• Overall dimensions, 20cm x 25cm (8'' x 10'')

INSIGHTS AND OPPORTUNITIES

THE GAUGE

Amazingly, we got gauge! When does that ever happen ;)

Though, it’s important to note that we worked the swatch flat. Working in the round could produce a slightly different row gauge.

Based on these results we’d go ahead and knit the garment on 3.25mm needles, monitoring row gauge and adjusting the body length in the stocking stitch section if necessary.

THE FABRIC

At this airy gauge, Cotton Fine has produced a soft drapey fabric with a smooth hand-feel.

The cotton/merino blend offers great stitch definition, the detail in the lace panel is clear and structural elements well defined.

The resulting texture is feminine and cool.

FINAL THOUGHTS

The lacework was intuitive and the pattern easy to follow. Using stitch markers definitely helped us track the lace repeats and catch those missed yarnovers!

Cotton Fine worked up nicely and we think it has great potential for light-weight knitted garments.

Tegna is an exciting introduction to both lacework and knitted garment construction and is highly recommended to anyone motivated to give it a try.

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THANK YOU FOR READING!

Tegna by Caitlin Hunter can be found on RAVELRY.
Knitting in Cotton Fine? Here’s what you’ll need:

• X-Small - 4 Skeins

• Small - 4 Skeins

• Medium - 5 Skeins

• Large - 6 Skeins

• X-Large - 6 Skeins

• 2X-Large - 6 Skeins

• 3X-Large - 7 Skeins

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Swatching with Cotton Fine

A woven Sampler in Plain-Weave

With the recent introduction of Cotton Fine to the Loom & Spindle yarn range, we’ve been excited to explore our new yarn.

Our first swatch is a woven sampler in plain-weave, woven at a sett of 40ends/10cm (10epi) on a rigid heddle loom.

Our aim was to explore the fabric’s hand-feel, interaction of colour and the effect of using a finishing technique to full the fabric and set the fibres.

We’ve detailed the project below to offer insight into our planning and methodology, and our thoughts on the resulting fabric. This recipe is a great starting point if you want to have a go at swatching for your next weaving project!

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PROJECT

A woven sampler in plain-weave, woven at 40ends/10cm (10epi), using Cotton Fine By Brown Sheep Co.

AIM

Weave a plain-weave fabric in Cotton Fine to explore:

• The fabric’s hand-feel at a sett of 40ends/10cm (10epi)

• The interaction of colour when using three shades; and

• The effect of using a finishing technique to full the fabric / set the fibre.

 SKILLS

• Calculating yardage

• Warping a rigid heddle loom

• Preparing the warp for weaving

• Hem stitching, to secure the warp and weft

• Balanced plain-weave

 TOOLS

• Rigid heddle loom

• Heddle, 40ends/10cm (10 epi)

• Stick shuttle (or other, to carry the weft yarn)

 MATERIALS

Putty

Gold Dust

Honey Butter

PLANNING

As the materials and tools were pre-established, planning was limited to determining an appropriate size for the sample, approximating the metreage required, and defining colour placement. 

SIZE

It was determined that a sample size of 30cm x 45cm (12"x 18") would be sufficient to examine hand-feel, colour interaction and allow for any shrinkage that may occur during finishing.

METREAGE REQUIRED FOR WARP

• Length of piece, 45cm + extra length for warping, 60cm (30cm each end)
  Total warp length, 105cm

• Warp width, 30cm X No. warp ends at 40ends/10cm
  Total no. warp ends, 120

• Metreage required for warp:

= No. warp ends x Total warp length
= 120 x 1.05m
= 12600cm or 126m

METREAGE REQUIRED FOR WEFT 

• At 40ends/10cm, No. weft passes over 45cm = 180

• Metreage required for weft:

= No. weft passes x Warp width
= 180 x 30cm
= 5400cm or 54m

TOTAL METREAGE

• Total metreage required

= Warp + Weft
= 126m + 54m
= 180m

COLOUR PLACEMENT

• The placement of colour was kept simple, the three colours being divided in blocks evenly across both warp and weft.

• Warp, 40 ends per colour

• Weft, 60 ends per colour (or 15cm of length, per colour)

 NOTES

• These calculations tell us that at 196m per skein, one ball of Cotton Fine would be enough to make a sample of this size. 

• As the plan was to use three colours in equal quantities in this piece, we divided the total metreage by three to determine the amount for each colour, 180m divided by 3 = 60m per colour.

METHOD

STEP 1

The rigid heddle loom was warped and colours placed as per the planning notes.

 STEP 2

3cm of ground weave was woven with leftover Cotton Fine to help evenly space and tension the warp.

STEP 3

Weaving began using the first colour in the sequence,.

Once the fabric was established, a row of hem-stitch was used to secure warp and weft at the beginning of the piece. 

STEP 4

Weaving continued, changing colours as required until each colour section was completed. 

Once complete, a row of hem-stitch was used to secure warp and weft before cutting the piece from the loom. 

FINISHING

The sample was finished by undergoing a full wash cycle in a washing machine and dried in a tumble dryer using a regular heat setting.

This treatment contradicts the recommended care instructions for Cotton Fine, but we thought this experiment was warranted to help set the weave and allow the fibres to bloom.

INSIGHTS AND OPPORTUNITIES 

THE FABRIC

The resulting fabric has a great lightness and after finishing is quite soft to the touch. 

At this sett, the fabric feels smooth and has excellent drape. 

Though it’s not a firm weave, the fabric feels like it would be somewhat hard-wearing and have some longevity when used in pieces that will see some wear-and-tear. 

THE COLOUR

The effect of the bold colour blocking produces a homey fabric and in the chosen colour palette has a somewhat vintage feel. 

Working with three colours allows for endless permutations that can be used to influence the look and feel of the fabric.

APPLICATIONS

From our results we think the fabric would be best suited to household napery and table linens.

The drape suggests that with a bit of fine tuning there is scope to work the fabric into garments, maybe simple summer tees and tunics. 

We would like to experiment next by working the yarn up at a finer gauge with the aim of creating a denser fabric that could be used for towelling applications in the home – washcloths, tea towels, etc.

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Thank you for reading!

To learn more about Cotton Fine please click HERE.

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