We are on holiday in Yorkshire and took the opportunity to visit the Ryedale Folk Museum in Hutton le Hole. The museum is a little gem, mostly outdoors it features original local buildings from different periods complete with information about those who lived in them. From the’ Witches Hovel’ to the Manor House, one can take a peak into the life of the people of Ryedale through the centuries.
Pre the Industrial Revolution the village subsisted on small scale farming and at one time a quarter of the population of Hutton le Hole were employed as weavers. It is not explained whether it was cause or effect, but flax was grown in the area in the 1700s and the women would have spun the flax into linen yarn on spinning wheels, examples of which are present in the houses. It is likely that wool was also spun as villagers grazed cattle and sheep on the common land and most households were largely self sufficient.
An early spinning wheel with a spindle which pre-dated the bobbin and flyer. It has a treadle which suggests that this wheel dates from after the latter part of the 1700s. Possibly originally used for flax as this was grown in the area in the 1700s to produce yarn for the village weavers. Ryedale Folk Museum.Another spinning wheel from a later period as it has a bobbin and flyer. The distaff suggests this might also have been used for flax, as wheels were, and still are, used for a range of fibres based on the spinner’s needs and skills.
In the same room as the wheel shown above, there was a charming lace light. These glass globes amplified the light from the central candle and focused it onto the work of those sitting around the globes. I have not seen a triple globe stool version before, so that was a treat.
Towards the end of the path through the museum is an Iron Age roundhouse. Apparently the structure was built with wattle and daub, just as it would have been in the Iron Age. Inside there is an open fire and amongst other domestic artefacts there is a rough-built warp-weighted loom. Although there is a warp on it, there is no weaving in progress.
At a quick glance the warp-weighted loom doesn’t look that different from a modern upright loom, except for the refinements of a winding-on mechanism and reed.
I am now itching to get home to do some weaving. Luckily I have my spinning wheel with me in the caravan where I am practising spinning flax in to linen yarn.
Hands up who doesn’t like icord? It’s an extremely versatile little tube that has many uses, amongst which is as a trimming or tie cord, or standalone as a thick yarn. Reach back to your childhood memories and you might have used a ‘Knitting Nancy’, or even a cotton reel with nails driven into the top to knit i-cord. You can hand knit i-cord with double pointed needles or even on two straights, with a bit of slipping and reverse knitting.
To my joy you can also knit it on a bed domestic knitting machine. On a double bed machine, or a single bed with a ribber attached, on each bed you cast on half the number of stitches that you wish to have around the i-cord, (for example, two needles on each bed will create a four stitch i-cord), then set one bed to slip and one bed to knit. This creates a tube of circular knitting. When using just a single bed, this is also an easy setting. Cast on four stitches, set your carriage to slip in one direction, and off you go. The slip pulls the yarn around from the last stitch directly back to the first needle and then you knit all four stitches again. After which the yarn goes back to the first needle again, and it makes a very nice little tube.
I have knitted i-cord by hand and on my knitting machine for many years, and at one point I purchased a hand-cranked, four needle circular i-cord machine, (I think it was a Prym?) which meant I could knit yardage very simply without blocking the use of my main knitting machine. I found the design to be quite awkward to use, so a bit later on I purchased another model, (it might have been Clover, but I think it was a French make). This is a much better designed piece of equipment, it fits well in the hand and is far more cheerful to look at because it is bright yellow and purple. The big plus is that any of these machines produce a consistently even i-cord. However, althouigh its faster than hand knitting, it still requires hand cranking.
Apart from these little i-cord machines I also have a plastic, twenty-two needle Addi circular machine. The Addi clearly knits a bigger tube that the little four-needle machines, but it works on the same principle with a revolving cylinder of vertical needles into which the yarn is fed through a statioary feeder. This means that the knitting coming out of the bottom of the machine turns with the cylinder of needles and can (and will) tangle.
The drawback with all these circular knitting machines described so far is that the knitting hangs down in the center of the cylinder and requires considerable weighting to make sure the stitches clear off the needles. Once the weights reaches the floor they stopped doing their job and unless rehung further up towards the cylinder, the stitches will miss-knit. If the knitted tube is turning at the same time as the weights descend, there is clearly far more potential for disaster to happen as the weight swings and the knitting twists. That is why the four needle i-cord machines and the Addi are my least favorite to use.
My pride and joy is a vintage, and very heavy, solid metal, circular sock machine. Although this still requires weights and they are very heavy weights, this knits in a slightly different way, with the feeder revolving around a stationary cylinder of vertical needles. This means that the knitting hangs straight down and does not twist as it is made. The advantage of this is that you only have to keep an eye on the weight, and do not have to untangle the knitted tube every so often.
Whilst working in industry, and at the University where I taught, I worked with what are called ‘strapping’ or ‘cording’ machines. The ones in use were small cylinder circular machines and fine gauge, so had tiny needle hooks and required thin yarns. These operated on the same principle as the CSM, but instead of weights, the cord winds onto a vertical frame which is synchronised to revolve at the pace necessary to keep tension on the cord as it descends towards the frame. This automates the process; the only human interaction is to change yarns and swap full frames out for empty ones. I suspect that the latest models will be almost totally automated with automatic yarn splicing.
Which brings me to the purpose of this post. At last! Because of the problems already discussed I was interested to try out the Caydo Automatic I-cord Machine. On close inspection, Caydo seemed to have addressed the problem of the knitting twisting by adopting the idea of a static needle cylinder and a revolving feeder, and overcome the weighting by laying the machine on its side and adding rotating cogs to tension the completed i-cord. I was intrigued as to whether this machine would prove to be as good as it looked in the adverts.
My verdict is that overall I really like this machine
I love gadgets, and this looked like a great gadget with thoughtful design which suggested to me an improved user experience and a positive practical outcome. Caydo kindly provided me with a machine to test and review, so that is where we are now. My video review is quite long, but I wanted to share the unpacking and assembly, (minimal) as well as explore the knitting process. My verdict is that overall I really like this machine.
It doesn’t like fancy yarns, but thats not uncommon
The machine won’t knit well with fancy yarns, and works with a limited range of yarn weights, but that is true of all domestic knitting machines. I met a lady the other day, and when chatting about the machine she was disappointed that it would not knit with chenille, but I am not sure that is a reasonable expectation as it clearly says in the manual what is and isn’t suitable.
I experimented a little, but as my aim was to review the machine as it stands, these were quite limited. I found that the harsher/firmer the yarn, the less the machine liked it. For example, I tried some crepe yarn and although it worked, the machine was not as happy as with less tightly spun yarn, until I helped by unwinding the yarn from the ball, the machine dropped the occasional stitch. I have had reports from other users that hand knit DK cotton works really well, but have not so far tested this out. The size of the hooks dictate the thickness of the yarn. Aran is listed as the thickest, but if not sure, lay the yarn in the hook and see if it sits there comfortably without being compressed.
Things I found that helped if the machine struggled:
manually wind to begin with and start with slow speed until you are satisfied that all is well
check that the yarn is in the tension disk correctly
watch for the yarn ball flipping over, this will tug on the machine
rewind the yarn onto balls that will pull-off easily, (if the machine has to tug at the yarn it stutters)
waxing as you rewind can help smooth the yarn
manually unwind the yarn before it gets to the machine if it is sticking to itself on the ball
listen to the machine, you can detect problems early by a change in rythmn/note
Be thoughtful when choosing yarns
The machine has weight, so does not shift around in use, and the case seems pretty robust. I am a little concerned about the rather delicate design of on/off/speed lever, as that is your ’emergency stop’ and might need to be turned quite rapidly, but so far it feels strong enough in use. The ‘knit/purl’ dial rotates when the machine is working, and yarn might get caught on this, so keep your work space clear of odd bits of yarn. I obviously don’t know how long the machine is going to last, and my guess is that the mechanism inside is largely plastic, (but I’m not taking it apart to find out). In my experience plastic cogs, such as those in ball winders are susceptible to strain and if worn may start to slip. The needles are metal, unlike the Addi, so should give stalwart service, as long as the latches don’t get bent. The needle ‘tricks’ in which they slide in and out are also plastic, but once again, provided they do not get burred or dented, they should wear smoothly, much as those in the larger, flat, plastic bed machines. If they do get dented with a sharp edge on one side of the indentation, the needle may catch on them as it slides in and out and could cause jams, (that is the voice of experience speaking). Over-thick and fancy yarns will contribute to all these potential problems, so be thoughtful when choosing yarns.
I was provided with a machine so that I could write/film this review, but have tried to be unbiased in my opinion and when describing my experience whilst using it.
Last time we went out in our caravan, and it was several years ago, I decided to crochet a blanket for the dog to sleep on. For this reason I chose acrylic double knit yarns in bright colours on a black ground and a simple ‘wagon wheel’ pattern. Well, after a good start it languished in a bag whilst we moved house, and settled in. I discovered it in a box and decided to try to get it finished. Luckily the yarns were all with the squares, and the pattern was still in the bag. Its taken me a while to get back into the swing, and having a dodgy shoulder recently has not been helpful.
Now its time to assemble and fill in the edges. So all the squares needed to be blocked to the same size. Yes, they were made to the same size, but being in a bag and folded up they are a bit messy, and its much easier to join them if they are consistently sized.
As I was doing this, I made a video of the process in the hope someone might find it useful.
I am now assembling the blanket by working a double (UK)/single crochet (US) joining the edge stitches of two squares, and then two chains, and then another joining stitch, then another two chains etc… it is quite a quick and effective join.
Needless to say, after all the hours I have spent on the blanket, the dog will not be sleeping on it…
‘The Machine Knitter’s Guide to Partial Knitting: Seamless Pattern, Shape and Form’, is available to pre-order in the UK from Crowood Books, and online retailers. In the US it can be ordered from Blackwells.
Learn how to control short rows and create fab effects with this fascinating technique.
I’ve always been fascinated by short rows, or partial knitting as this technique is also called, so when the opportunity came to write a whole book about the technique I was super excited. The book opens with some interesting information about short rows to whet the appetite, the first chapter is about the absolute basics, so is ideal for people who have not worked with short rows before. The chapters progress through the different ways of using short rows; shown with examples, diagrams and written instructions. Some also have half scale sample patterns for practising the techniques which include more advanced uses, such as 3d shaping.. There are step-by-step instructions and each chapter builds on the knowledge of the previous chapter. The book ends with a chapter of patterns exemplifying the techniques covered throughout the book.
A couple of weeks ago I spent a weekend in Bath in the Somerset with some friends.
On our first day we did the touristy things like visiting the Circle and the beautiful Royal Crescent and had tea in one of the numerous teas shops. Quite by chance, the one we picked happened to have been featured in Bridgerton as the Modiste shop.
Food featured heavily in our weekend, cake being a particular favorite, so the next day we visited the historic Pulteney bridge and the tea shop which is situated on top of this bridge.
We are all knitters, so were pleased to discover there was a yarn shop close to where we were staying in the city centre. So, before leaving on our last day we paid a visit to ‘Wool’. There we found a wide selection of yarns to please all price points, that catered for all types of knitting or crochet work. Yarns included individual spun, Rowan Kid Silk and some very good value Tweedy Superwash Merino wool by King Cole. I am a bit of a sock yarn addict and bought a 100g ball of Lang sock yarn, which I have not tried before, and some 100% wool double knit in pretty pastel colours.
Someone else chose a DK pattern for a simple sweater shape which she intends to knit up in a wool and Alpaca blend yarn. The yarn is being reclaimed from a partially-knitted garment that her mother never completed, I think this is a lovely way to maintain a thread with the memory of her Mother, but to end up with a garment that she will want to wear.
The staff in the shop were particularly helpful over this explaining to my friend how to substitute a yarn in the pattern and helping her decide if she would have enough of the existing yarn. Although I could have helped her with this it would have felt a little like a busman’s holiday to do so ‘on the fly’. However I did of course tell her she could ask me later if she ran into problems.
I will certainly go back to ‘Wool’ next time I’m in Bath.
This is something I used to struggle with when first starting to machine knit, and to be honest, it still sometimes needs a bit of thinking before I get it right.
So I put some information together which I hope will be useful to others who find the holes and blanks a bit confusing. It also has some helpful ways to read what is actually being read by the card-reader, rather than what is visible above it.
Lets start with the fundamentals:
Knitmaster/Silver Reed (KM/SR) machines only knit pattern from the punchcard when the side levers are at the triangle and the pattern cam dial is set to the relevant stitch type; F, S, T etc.
Brother machines only knit pattern from the punchcard when the KC dial is set to KC, KCI or KCII, as appropriate to the machine, and when the relevant pattern cam buttons are pressed, MC, tuck, part etc…
However, on both makes the needle positions are the same
Pattern cam setting
Punched holes
Needle position
Blanks
Needle position
2-col-in-a-row
knit with 2nd colour
UWP
knit with MC
WP
tuck
knit
UWP
tuck
WP
slip/part
knit
UWP
slip
WP
On both Brother and KM/SR machines, the punchard line being selected is hidden inside the machine. Seven lines below on a Brother, and five below on a KM/SR.
Brother machines, both punchcard and electronic, pre-select needles before knitting the row. Therefore, the pattern can be interrogated by looking at the needle selection in conjunction with the needle positions listed above.
KM/SRpunchcard machines have a card reader with feelers. These are selected according to the punchcard pattern but the actual feeler action is hidden behind the carriage. The pattern line can be manually interrogated by locking the punchcard.
I have put some hand spun yarn in jar to Solar dye with raspberries. I am waiting for the outcome, but you can read more about the process by scrolling down the page here
Cutting the warp off, is for me, a scarey, but exciting part of weaving. I started this inkle band during a workshop with the Somerset Guild of Spinners, Weavers and Dyers several months ago. When I got home I did a bit, but it sat part done in the corner for all this time until I was fired up to finish a few projects off and wove the last fifty or so centimetres yesterday evening.
This morning I cut the warp and will now wash the band. It is in 4ply hand knit/crochet cotton and follows a simple pattern that was set for the workshop. The colours were chosen to suit the living room curtains and if I ever get around to it I will make this band into tie-backs for the curtains, (which was my original intent).
It’s taken me a while, but I have finally made the warp which I will use for testing out my new (to me) countermarch loom.
It’s taken me a while as we have building work going on in the house so I am moving from room to room to escape the chaos. I finally ran out of places to go, so ended up in the conservatory which is HOT. Lots of short breaks needed.
I am in two minds about what to weave. My heart says a fleece rug – I have two in bags in the shed, but my mind says ‘ do you need a rug,?’ What I really need is more tea towels, since my son burned a hole in one of my hand woven ones.
The loom has got an 8 dent reed and I am using a thickish cotton and making a sectional warp because my warping board pegs won’t take more than 80 ends of this. I’ll thread it up as a twill and let myself be guided by the spirit of the day I start to weave.
Winding the warp of the warping board onto a kite stick, as recommended by Peggy Osterkamp
The loom waiting for the warp. I know I’ll be whining about back ache quite soon…