Colour Dominance in Stranded Knitting

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Hello! I was only going to write a short post today, about colour dominance in stranded knitting, but I seem to be incapable of writing short posts somehow. Looking through my photos I realize that there is much more to share. We’ve had some beautiful, clear, frosty mornings this past week, and I just have to show you a few pictures.

The railings of a bridge we crossed on one of our walks were covered in a furry white coat of ice needles.

There is a wafer-thin layer of ice on the smaller waterways. Daytime temperatures are far too high for a safe ice floor for skating on to grow.

But temperatures are low enough throughout the day for wearing mittens, and the Selbu mittens I’ve just finished come in handy.

Colour dominance in stranded knitting

The first time I knit a similar pair of mittens was long before the internet, and I didn’t have anyone to tell me how to go about it. While I was knitting them I discovered that it makes a difference how you hold your two yarn colours. I always hold one thread in my left hand and one in my right hand. I found out that the colour I hold in my left hand pops out/is dominant, while the one in my right hand forms the background.

I’ve knit a small swatch to show you what I mean. In the bottom half of the swatch below I held black in my left hand and white in my right hand. And in the top half it was the other way around, with white in my left hand and black in my right hand.

Makes quite a difference, doesn’t it?

So how does this work? Looking at the back of two-colour knitting, you can see that there is always one colour that takes the shortest route, while the strands or floats of the other colour sort of come up from under that and take a longer route. It’s the colour that takes the longest route that is dominant. Recapping:

  • If you’re holding one colour in your left and the other in your right hand, the left-hand colour will be dominant.
  • If you’re holding both of your yarns in one hand, the thing to do is look at the floats at the back of your knitting and find out which one takes the longest route – that’s the dominant one.
  • Keep the same colour in the same hand/position throughout your stranded knitting project for a consistent result.

For my Selbu Mittens, I wanted the black to really pop out, and held that in my left hand.

Different cuffs for men and women

Traditionally, Selbu mittens for men had cuffs with colourwork similar to that on the hands, whereas women’s mittens had either the zigzag cuffs I used or striped ribbed cuffs. Below, two pairs of women’s mittens in Selbu Bygdemuseum:

Which float to pick up for increases

While knitting these mittens I made another discovery – it makes a difference which float you pick up when increasing (M1L or M1R). For the thumb gusset below right, I picked up white floats for making a stitch, and for the thumb gusset below left, I picked up black floats. I don’t know if it’s very clear in the photo, but picking up white floats results in a kind of steps along the sides of the gusset (blue arrows), while picking up black floats gives a smoother line (red arrows).

What I’d do differently next time

This time, I used the same needles throughout. Next time I’d go down one or two needle sizes for the cuffs.

What I’m inordinately proud of

How the all-over pattern on the palm of the hand continues on the thumb, so that you can hardly see where I picked up the thumb stitches.

Pattern/yarn/needles:

Mittens are great little projects and I can see myself making more in the future. Do you ever knit mittens? What is your favourite pattern?

Large Copper

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Hello, hello, it’s good to see you! You’ve arrived right on time to join me for a walk. I’d also like to thank you, but we’re coming to that later. We’re in de Wieden again, part of the wetland nature reserve I’ve taken you to before. The path is a bit muddy but still walkable.

The landscape here has a limited colour palette at this time of year. There is the green of the grass and the blue of the sky (at least today).

But mainly it is, uhm, well, what would you call the colour of reed in winter? Tan, buff, sand, wheaten?

Yellow, golden, camel or brown? It depends very much on the light.

Here and there a spot of white is floating by…

… or standing still. It’s very quiet and peaceful, with just the honking of geese in the distance.

The only bright pops of colour come from the mosses and lichens.

And from the large copper.

Not a real one, obviously. It’s a felt large copper butterfly that travelled here in my inside jacket pocket. There are no real butterflies here in winter. Unfortunately, the large copper can’t be seen here in summer anymore either. It is still fluttering around in two nearby nature reserves, though, and my husband was able to take a few photos of it there last summer. It’s a vivid red-orange on top,

with white on the underside of its wings.

Beautiful, isn’t it? This particular species (Lycaena dispar batavus) doesn’t live anywhere else in the world anymore but in these two nature reserves. A precarious existence. It would be great if its habitat could be extended to the Wieden. Nature conservation organisation Natuurmonumenten is working hard to create the right circumstances for that to happen, protecting host plants and creating corridors for the large copper to fly along towards de Wieden.

By purchasing my Seventh Heaven scarf pattern, many of you have become supporters of their good work. I have now donated all of the proceeds from the pattern so far to Natuurmonumenten. On behalf of the large copper and Natuurmonumenten thank you so, so much for your contribution!

Links:

Same Pattern, Different Pullover

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Hello! Do you know that feeling? You’d like to be a little more creative in your knitting but don’t quite know how to go about it. Creativity is all good and fine, but you also want to end up with something that fits and looks good. I sometimes have spurts of creativity, designing my own patterns from scratch, but I also love to just follow an existing pattern. This time I’ve found a middle way between the two. Let me tell you about it.

Last year I knit a pullover for our grandson – the Vinterkonglegenser from the Klømpelømpe Four Seasons book.

It was a great success. The yarn is soft, the pullover fits well and our grandson loves wearing it. Now he’s almost grown out of it. So, I thought I’d knit another one exactly like it, from the same yarn, only a size up and in different colours. But then I thought, no, I want something a little more different – I’ll use different motifs in the yoke.

While I was adding a few rows to my Selbu mittens, I had the idea of using motifs from the same booklet the mittens are in:

The booklet is in Norwegian, but even if you can’t read Norwegian it’s a great source of inspiration. It contains a large number of charts that can be read by anyone, no matter what language they speak. If you’d like to get an idea of what’s inside, it can be found here on Ravelry, and you can leaf through part of it here. Not nearly everything in it is shown there, though.

Many (or perhaps all?) of the items in this booklet are replicas from the collection of the museum in Selbu.

Similar motifs can be found here. For our grandson, I chose the traditional snøkrystall (snow crystal) motif, and combined it with some smaller diamonds and triangles. I also used the tiny triangles along the sleeve and body ribbings:

Inserting your own yoke design into an existing pullover pattern is a fun thing to do. It’s a bit like doing a sudoku, puzzling with stitch numbers. You can use software, but ordinary graph paper and coloured pencils will do fine, too. You could follow these 3 steps:

  1. Copy the outline of the yoke chart from the pattern you’re using (same number of stitches and rows, but empty squares).
  2. Indicate where the increases (top-down pullover) or decreases (bottom-up pullover) are placed in the pattern.
  3. Now it’s time to play with motifs! What main motif would you like to use? Will it fit? Where? How could you fill up the rest of the space? (Keep in mind that the increases/decreases will distort the stitches to some extent. It’s best to have the increases/decreases in solid coloured rows or areas.)

I first designed my yoke on the computer (using Stitch Mastery), and then made quite a few changes while I was knitting it. Here is my messy design:

And here is the original yoke (left) next to my design (right). Apart from the yoke, I just followed the pattern – same pattern, different pullover:

The yarn shop where I got the yarn for both of the pullovers (Sandnes Tynn Merinoull) had an advent calendar in its window following the same principle – same pattern, 24 different pullovers. It’s a terrible photo with the opposite side of the street reflected in the glass, but I thought it fun enough to add here:

Why not give the same-pattern-different-pullover-approach a try, too? The possibilities are endless.

Gulbranssen and Pieck

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Hello! While I am knitting a pair of Norwegian (Selbu) mittens, I am also reading a Norwegian novel, or actually it’s three novels in one – the Bjørndal trilogy by Trygve Gulbranssen. It’s about the life and times of Dag Bjørndal, who lives in an unspecified place in the Norwegian mountains and trades in everything his lands and forests yield – wood, furs, meat, grain. We follow Dag from a young age until his death. Although the story is set in the late 18th and early 19th centuries, its theme is still just as current today: money, the power that comes with it, and how it can be abused or used for good.

The lovely monogrammed felt book mark was a gift from my friend Froukje. She writes about making them in this blog post (scroll down a little).

Some people find the books slow going, but I think they are magnificent. It’s not just the development of Dag’s character that’s fascinating, but also the people around him, the glimpses we get of Norwegian society at the time, and the descriptions of everyday life and the landscape.

The copy I inherited is a Dutch translation, with photographs from a 1960 Austrian film based on the books as well as illustrations by Dutch artist Anton Pieck. The film pictures are so horrible that I’m thinking of tearing them out. But Pieck’s illustrations are fabulous – just look at how the smoke curls up from the chimney of this log cabin among the pine trees:

And see how he depicts the forest creatures that cause rumbling noises and landslides in the mountains dancing with the naked young beauties who lure people into steep and dangerous ravines with their song:

Seeing these pictures gave me the idea of visiting the Anton Pieck museum. It isn’t far away from us at all, but we’d never been there. So on the Monday before New Year’s eve we set off for Hattem. Unfortunately, I’m not allowed to show you any of the photographs I’ve taken inside. Bummer!

What I can do, is take you on a walk through this lovely town. Anton Pieck is best known for his nostalgic town scenes, and walking through Hattem’s old centre is like being inside some of his paintings (bar the cars and bicycles).

Behind the deep green yew hedge, there’s a communal herb garden where the inhabitants of Hattem can come and pick herbs for their meals and tisanes.

The square beside the Church is one of my favourite spots in the town. Even nicer in spring and summer with the potted plants flowering, but still lovely on a gloomy winter’s day.

After a short walk we arrive at the Anton Pieck museum, with its cheerful blue door and shutters.

As I said, I can’t take you inside, but you can get an impression of Anton Pieck’s work from the Museum website and even better from this website dedicated to his work.

While Anton Pieck’s cobbled streets are always crowded with pedlars, women wearing shawls and carrying shopping baskets, children with hoops, cats, dogs, chimney sweeps etcetera, the streets in Hattem are deserted on the day of our visit.

At the end of this alley, a house with a bell gable is called De Halve Maen:

The wealthy merchant to whom this house once belonged may well have bought wood for his roof beams or furniture from a Norwegian trader like Dag Bjørndal, helping to fill up the trader’s intricately decorated coffers with silver.

In his middle years Dag becomes more and more obsessed with filling his coffers and investing in real estate, but later on he mends his ways and says, ‘It is the money grabbing that has got the upper hand in our lives, and that makes that many people are struggling unnecessarily. A man must spread heart warmth around him if he wants to have peace, and that will benefit others as well.’ [Trygve Gulbranssen, Het geslacht Bjørndal, uitg. M.C. Stok, The Hague, date unknown, p. 529, my translation] If only more people came to that insight in their old age (or preferably earlier).

With Dag’s piece of wisdom, I’m leaving you for now. I hope to be back with some knitting next week. Take care!

Selbu Mittens

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Hello! After a false start – with a mitten turning out too small – my Selbu mittens are now well under way. They have a star on the top and an all-over diamond grid pattern on the palm of the hand.

I’ll tell you more about them when they’re finished. First, I’d like to take you along to the Norwegian region where these black-and-white mittens originated. We visited Selbu during one of our many travels in Scandinavia, camping on the local campsite for a couple of nights, eating outside no matter what the weather.

Selbu is a community with about 4.000 inhabitants, some 70 kilometres south-east of Trondheim, the city with these colourful warehouses along the Nidelva river:

I love the rugged Norwegian landscape, with its wild rivers…

… and wide open spaces.

We pass many interesting dwellings…

…before arriving at the old rectory that houses Selbu Bygdemuseum.

The museum shares its premises with Selby Husflidscentral, that runs the shop, and organises tours of the museum as well as workshops and talks on Selbu knitting. The museum has a fabulous collection of knitted accessories,

including a large number of gloves and mittens.

Almost all of them are in black and white, and many (but not all) of them have star and/or diamond patterns.

I am talking of star patterns, but the Norwegians call them eight-petal roses, or also Selbu roses. No pair is the same, and some pairs have dates and/or initials knit into them.

Some of the mittens have very intricate patterns knit on very fine needles, while others are simpler and knit at a larger gauge. The ones I am knitting are something in between. There is much more to write about these wonderful mittens, but I’ll leave it at this for now.

If you ever have the opportunity, Selbu Bygdemuseum is definitely worth a visit. Until then, here are some links for further reading:

Happy 2025!

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like buds on a tree
twelve new months ahead of us
ready to unfurl

Happy 2025! May it be a year filled with love, joy, inspiration and fulfilment.

Just popping in here briefly today. As of next week, I hope to be back with my usual longer posts (so much to write about!). See you then! xxx

Season’s Greetings

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Hello! How I would have loved to write a really wintry post today, with photographs of a snowy landscape with a bright sky, or of frozen lakes and canals with people ice skating. But alas! It’s grey here. Very grey.

And wet and dark. Ah well, it is often like this in the weeks before Christmas. I’m fine with it really, and go out for a walk every day no matter what the weather. At home it’s cosy, with candles everywhere and the Christmas tree in the living room. On Saturday I found this new (second-hand) addition to it.

Every morning, I start the day by adding a few pieces to a wooden puzzle. Our daughter put them in the Advent calendar mittens I gave her last year (described in this post). I can see this becoming a tradition, with the mittens going back and forth between our homes every year.

It’s an amazing puzzle. At first I thought it was going to be a star, but now I can see that it is becoming an animal head (a fox?). There are all kinds of animals, birds, flowers and leaves hidden in it. One of the pieces in mitten number 17 was a wolf.

This autumn, there hasn’t been anything interesting like the Advent mittens on my needles. I just didn’t have the energy or the spirit. Instead, I’ve been knitting lots of simple things: A garter stitch scarf and 1×1 ribbed hat for a niece who is leaving for Stockholm in January, and a stocking stitch pullover for our son-in-law. The pullover pieces are now drying on blocking mats.

I didn’t use a pattern, but simply improvised. (Yarn: Rowan Softyak DK – shade 240 Pasture.) If I get a move on, I should be able to finish it before their Christmas visit.

I’ve also been knitting some simple 4-ply socks. (Pink-brown pair: Lang SuperSoxx Berry – shade Raspberry; Blue-grey ones: Rellana Flotte Socke Patagonia Männersache – shade 1730.) I simply love knitting simple socks.

Tomorrow it’s the winter solstice, in five days’ time it’s Christmas, and in only eleven days it’s New Year’s Eve. In previous years, it was often on the very last day of the year or a couple of days earlier at most that I suddenly thought, ‘Oh, another year has rushed by and what have I actually done with it? And what about the coming year?’

This year, inspired by Leo Babauka’s Month of Reflection, I’ve been pondering these questions during the entire Advent period. That doesn’t mean that I spent a whole month sitting cross-legged on the floor, but I did take some time here and there to reflect on 2024 and set intentions for 2025. Leo’s four-step approached really helped me structure my thoughts, because they can get seriously tangled.

It has helped me see the path ahead of me more clearly.

(In springtime this particular path is bordered by a carpet of wood anemones – see this blog post).

I’m really looking forward to the festive season and 2025 now, and have already started on a pair of Selbu mittens…

… and found a Norwegian book to read alongside.

Another small felt kit lies waiting to be made into a butterfly…

… and I am brimming with many more ideas for things to make and write about in the coming year.

I’m taking some time off now to knit, read, sew, rest and be with my loved ones. I wish you a lovely and peaceful festive season, with plenty of time to be with the people you love best and to do some of the things you love doing most. Thank you for visiting me here and I hope to see you again early next year!

To close off, here is a picture of the most beautiful Christmas wreath I’ve seen this year, glowing golden amongst all the damp and greyness.

Small Tortoiseshell

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Hello! With Christmas less than a fortnight away, there is something utterly un-Christmassy I’d like to share with you today – a butterfly story.

It all started with the scarf version of my Seventh Heaven pattern. For this version, I used two different colourways of Schoppel Zauberball Crazy. One of them was inspired by and named after a butterfly called Kleiner Fuchs in German (EN small tortoiseshell; NL kleine vos).

While I was photographing the rolled-up scarf, look who was coming for a visit:

A small tortoiseshell landed on our picnic table for a spot of sunbathing!

I love these beautiful creatures, and I know someone else who does, too. Her studio isn’t far from here. Would you like to join me for a visit? Following cycle tracks through the wood, country lanes through farmland, crossing a busy road, more country lanes… there we are.

Marianne dyes yarn in gorgeous glowing colours.

Her studio, called Lindelicht, is a Scandinavian-style wooden building with a welcoming atmosphere. Hello kitty-cat!

Tea, biscuits, bowls filled with mini-skeins – so very cosy.

Besides the yarn shelves, there is also a shelf filled with felt. I don’t know the English word for this type of felt. It is a mottled wool felt that is called sprookjesvilt (fairytale felt) in Dutch.

Marianne uses it to make figures for the seasonal table and her flower-inspired lamps.

She also uses it for her butterfly kits. To date, she has designed 16 different ones. I started with the fairly simple cabbage white before making the fiddlier small tortoiseshell. Instead of pins, I used Scotch tape for the smallest elements.

I made it over the course of a week – an hour here, 30 minutes there. It’s a lovely little project to sew, embroider and embellish with beads. With a wingspan of 11.5 cm/4.5” the felt small tortoiseshell is about twice the size of a real-life one, but otherwise I think it’s an excellent likeness.

What I love about this project is how it made me look at the small tortoiseshell more closely than I’ve ever done before. For the first time, I noticed the long hairs along the sides of its body, the stripes on it’s antennae and the blue spots all along the edges of the wings. I feel I’ve got to know this butterfly that I’ve known all my life even better.

Thinking that some of you outside the Netherlands might like to make a felt butterfly, too, I asked Marianne if she also sends her kits abroad. Her answer was, ‘Yes, no problem. But do tell them that the instructions are in Dutch!’

Links:

Does It Itch?

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The weather has been a mixed bag here lately – something in between autumn and winter, with quite a bit of rain and wind, but some sunnier days as well. On a chilly day with rain showers interspersed with sunny spells we went for a walk in the nearby wetland area.

It’s quiet at this time of year, and the colours are subtly beautiful.

I never really noticed before that water lily leaves have autumn colours, too, just like the leaves on trees.

Small metal windmills are used for managing the water levels. The land needs to be wet enough for reed and other plants to grow, but not too wet for reed mowing and haymaking.

During these walks the exercise keeps me warm. But at home, working at my computer, I often get chilled to the bone. In other words, I could do with a warmer sweater than the ones I usually knit, like Sundborn – the cardigan on the front cover of the Swedish cardigan book I brought home from the Handwerkbeurs:

It is knit from Léttlopi, just like several other cardigans in the book. Léttlopi is an Aran-weight Icelandic yarn I’ve had my eye on for ages. It is warm, affordable and comes in a large range of beautiful colours. But it feels so rough and scratchy on the skein that I thought I’d never be able to wear it.

I’m very sensitive to itchy yarn. Clothing labels can drive me crazy, synthetic fibres bring out patches of eczema, and I’ve had to part with several hand-knit sweaters because they itched so much I just couldn’t wear them.

I’ve heard good stories about Léttlopi, though, and oh, those gorgeous heathered colours! So, I prudently bought one skein and knit a few swatches to get to know it better.

The swatches felt a little softer after a Eucalan bath, but still pretty rustic (can you see the hairs?). I decided to ‘wear’ one of them for a day and first pinned it to the inside neck of my red cardigan.

No itching in my neck or between my shoulder blades after an entire morning. Then I wore it on the inside of my elbow (a very sensitive spot), between my cardi and my shirt sleeve for several hours. Still no itching. Finally I wore it inside my shirt sleeve, on my bare(!) skin, for several more hours. And strangely it didn’t itch at all! Yay! Now, what colours to choose? Subtle ones, like those of our countryside in autumn and winter? Or brighter ones reminiscent of summer skies and flowers?

I’d also love to make a cardigan from Maja Karlsson’s cardigan book for my daughter, knit from the same yarn – this one:

I’ve given her a Léttlopi swatch, so that she can try it out and for herself answer the ultimate question about knitting yarn – does it itch?

Buttons and Baking

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Hello! Can you smell the scent of spices wafting to you from my kitchen through the internet? I’ll give you the recipe further on, but first I’d like to talk a bit about buttons. My Norwegian cardi still needed buttons, so I went to a nearby haberdashery shop. On a drizzly morning, when everything else in the street was still closed, it was a haven of colour and cosiness.

It is a tiny shop, crammed with sewing and knitting notions, tools and yarns. And they have a fabulous button wall.

The cardigan I knit is a kind of greyish, fairly dark blue. So, I first looked at blue buttons.

I found some in the right size that matched my yarn exactly, but… they looked a bit dull. Looking at the wooden button section for something more exciting, I fell in love with these – aren’t they fun?

The cardigan I sewed them on to is the Lang Yndlingskofte from Kofteboken 2 (this beautiful Norwegian book can be found here on Ravelry). It’s the cardigan I steeked in this blogpost. The yarn I used is CaMaRose ‘Økologisk Hverdagsuld’ (100% organic wool, 150m/164yds/50g). It is warm and light, and became very nice and soft after washing. A really, really lovely yarn. I’ve shortened the cardi by 10 cm/4 inches, but it is still fairly long and would also be great worn with a dress.

So, what is that on the baking tray I’m holding in my hands? Kruidnootjes! Kruidnootjes (literally: spice nuts) are a traditional Dutch Sinterklaas treat. In the Netherlands, Sinterklaas is celebrated with gifts on December 5th, the eve of Saint Nicholas’ Day. Three weeks before the day, the venerable Sinterklaas arrives in the country by steamboat. We welcome him with special songs, and in the weeks leading up to the celebration we eat tons of kruidnootjes. They’re great to bake with children. Here is my recipe:

Kruidnootjes

(makes about 100)

Ingredients:

  • 100 g self-raising flour
  • 50 g dark brown muscovado sugar
  • 40 g unsalted butter (softened)
  • 1 tablespoon mixed spice*
  • A pinch of salt
  • 2 tablespoons milk

*The Dutch spice mix used in this and other traditional recipes is called speculaaskruiden. It does not always have exactly the same ingredients, but is usually a blend of: ground cinnamon, coriander, aniseed, ginger, nutmeg, cardamon and cloves. Sometimes it also contains pepper or allspice. If you can’t get speculaaskruiden where you live, why not make your own? A beautifully illustrated recipe can be found here.

Method:

  • Knead all the ingredients together by hand until they form a ball. Wrap the ball in clingfilm and place it in the fridge for 30 minutes.
  • Preheat the oven to 175˚C/345˚F (hot air: 160˚C/320˚F)
  • Roll the dough into about 100 small balls (approx. 1.5 cm/½ inch in diameter). Place them on a lightly greased baking tray.
  • Place them in the oven…
  • … and bake for 20 minutes.
  • Leave to cool until they are nice and crunchy.
  • Eat straightaway or store in an airtight container

Enjoy!