R e f l e c tIssue 3 Vol. 1 6 Bits Storybooks

Contents...

Masthead-3

LetterfromtheEditor -4

Dedications&Explanations -6

Patterns Bonnie -8 Aroha -26 Lynn -39 Sarah -62 Tal-Moon -70 Alana -80

Abbreviations&TermstoKnow -87

SwatchandTell: GettingtoKnowNewShawlYarns -89

LessonsinCreativity...andBravery -102

AuntieStatus -111

TraditionsOldandNew -121

ReflectingonCreativeSpaces -126

BehindtheLens -132

ClosingBits -134

_

Melissa Schoenwether Editor in Chief

Sarah Smee Managing Editor

Melody Hoffmann Designer, Contributor, and

Creative Partner

Amy Kenagy Tech Editor

Natalya Schoenwether illustrator, intern, fact checker

Stephanie AlfordRegular Contributor

Guest Contributors Amy Kenagy

Francoise Danoy

6 Bits Storybooks

PhotographyMatt and Shealynna

Wellman

StylingMelissa Schoenwether

Shealynna Wellman

Sample KnitterCayenne DaBell

ModelsShealynna Wellman Charlotte Carvahlo

Diane HoritaYotch Yatsuoka

Reflect…We have opportunities as we knit to reflect upon people and moments that have given direction to us. Sometimes the yarn we use was sent by a friend. The needles we hold in our hands were held by a grandmother. The pattern we work is one we began with a group of cherished knitters on knit night. Perhaps the very act of knitting was given to us in a moment, though simple, that we think of often. Though reflect most often means time to think back, to me ‘reflect’ is a very present action, like the reflection of a mirror. I can reflect joy and encouragement, just like the ocean water I cherish reflects light merrily dancing on its surface. People and places I know remind me of that light. In this issue you will meet and visit some of them:Designers: Melody and I are joined this issue by two new skilled knitting artisans. All of us were challenged to think ofa woman (or girl) who has been our knitting muse and to create a piece reflecting her spirit. Aunties: See how the misconception of knitting as “little old ladies in shawls” rings hollow. Learn about “AuntieStatus.” Places: In Old Hanapepe town, along brightly lit shores and in quiet still forests, see variations of how we wear thepieces from our collection.

In this issue I’m also excited to show you another new layout for patterns. In each issue we try new things, and as you read through Reflect I hope you enjoy the fresh layout. Simple, print-friendly versions are included for you to download as a PDF and add to your Ravelry library. Also in this issue, look for ideas on substituting yarns, as well as glimpses as to how the yarns we use change when wet. It always amazes me to see the personality of yarn as it changes.

As I close this letter to you, I am reflecting on all the joy readers of 6 Bits bring me. Never question your impact in the knitting world. You push me to give more and dig deeper. Mahalo.

Thankful for you, Melissa

This issue is dedicated loved ones who instilled in us the confidence to create and t he imagination t o explore our creativity.

The 6 patterns you find in t his issue are a ll honoring a woman, or woman in the making, that gave spirit to the cre-ation we are sharing with you.

For Reflect the patterns have a different layout and format from previous issues, as well as placement. Right from the start you have the opportunity to escape through the photostories, which we combined with the words of the pattern. Our articles are still included! You will find them patiently waiting for you toward the latter part of this storybook.

Trying new things with each issue is a way to push creativity up to publication--certainly! It is also a way for you, Dear Reader, to continue having fresh and unique moments with 6 Bits Storybooks. We want to slow down in order to see all the things that can be catalyst to our imaginative endeavours, but let us also slow down to see what other directions our creativity can lead us!

With Reflect we rearranged things you will see and read. We also changed a very foundational piece: the yarn sup-ply. You may have a local mill that produces 3 or 4 bases, and perhaps up to now you have used one of those based confidently, even sharing with others how pleased you have been with it! In Reflect we have worked with Space Cadet Yarn for all pieces. We share attributes of the yarns we used in the hopes that you can source local to you yarns that may share the same properties. Digging in to several bases from one supplier gives ample opportunity to learn more: about the yarn, about the dyer behind the yarn, about the variety of ways your local yarn supplier creates. And getting to know the yarns from one supplier allows you to get to know the person or people making that yarn available to you. Perhaps as you slow down, the moment you will love creating will be that of a new friendship between yourself and your yarn supplier!

We can look back, dedicating our creations to those who have brought us this far in our creative journey---and at the same time join hands with those here in the now pushing us gently forward to continue!

The lovely woman at left is Amy Kenagy's grandmother, Bonnie, to whom we would like to dedicate this issue of 6 Bits Storybooks.

Dedications & Explanations

BONNIE I love quiet time at the water’s edge. Whether I am listening to the waves lap the shore

while the colorful fish swim amongst the bright coral in the tropical waters beyond or I

am gazing out on the still black lake and watching the cattails blow in the breeze,

water lends itself to a time of peaceful, reflective thoughts and memories. This two-

color shawl is made up of a series of stitches that portray the rocky shores, the water’s

edge, the underwater life and the rolling waves. With alternating sections of color, a

unique shape, and blocks of simple lace, this shawl is interesting to knit, with easy to

memorize patterns that are simple enough to do while dipping your toes in the water.

Its feel is open and airy while still providing a light barrier against the cool ocean

breezes and chilly summer nights at the lake. While this shawl worked in bright colors

may draw you out onto the coral reefs of the tropics, cooler colors may remind you of

the mountain lakes you set up your tent next to as a child. Whatever colors you choose,

may they remind you of being at water’s edge.

---Amy Kenagy

Yarn: 1 skein SpaceCadet Yarn Oriana 8-ply

Colorways shown: 1 skein Mars and 1 skeinFeather

Fiber Content & Yardage: 100% superwash merino wool, 3.5oz/100g approx. 420yds/384m

Needles: US6 (4mm) 32in (81.25cm) circularneedles

Gauge: Blocked gauge swatch: 4in x 4in (10cmx 10cm); this changes very little between blocked and unblocked. For swatch pattern, see Notes.

Finished Measurements: 12in.(30cm) deep atcenter, 60in.(150cm) from tip to tip

Experience Level: Intermediate knitter thatcan knit, purl, work short rows, alternate yarn for easy color changes, increase, decrease and work basic lace stitches

Other Supplies: tapestry needle, 2 lockingstitch markers

Notes:

Gauge Swatch:Fabric quality is more important in this shawl than gauge. This will be determined by sev-eral factors: yarn weight, yarn make-up, and needle size. This shawl is meant to have an open and airy fabric. Please choose a nee-dle size to create this fabric with your chosen yarn. Changing needle size/yarn may impact yardage required. **Note: Some slipped stitches are slippedknitwise. Watch for the slk1 notation.

CO 21 using Long Tail CO.Edging Row: *k1, p1* repeat between ** to last st, k1 Repeat Edging Row one more time. Row 1: k1, p1, k3, *yo, slk1-k2tog-psso, yo, k1* repeat between ** to last 4, k2, p1, k1 Rows 2 and 4: k1, p1, k1, p to last 3 sts, k1, p1, k1Row 3: k1, p1, k2, k2tog, yo, k1, *yo, slk1-k2tog-psso, yo, k1* repeat between ** to last 6, yo, slk1-k1-psso, k2, p1, k1

Repeat Rows 1-4 six more times (7 times to-tal), ending with a Row 4. Then, work Edging Row twice. BO knitwise loosely.

Shadow Stitch Short Row Stitches:This short row technique creates a new stitch, which

is worked out of the stitch on the row below. The new stitch is the exact shadow of the next stitch on the needle. Each shadow pair counts as one stitch. For picture tutorials, please see: http://socktopus.

co.uk/2011/02/05/short-rows-shadow-wraps/

SSRS:With right needle, k into the back of the st below

the next st on the left needle. Sl this new st from the right needle to the left needle without twisting (the new st and its shadow come from the same st in the

row below and count as one st).

SSWS:With right needle, p into the purl bump of the st be-low the next st on the left needle. Sl this new st from the right needle to the left needle without twisting

(the new st and its shadow come from the same st in the row below and count as one st).

Rocky Shores:CO105 loosely.Set-up Row 1(WS): *k1,p1* repeat between **to last st, k1Set-up Row 2(RS): *k1, p1* repeat between **to last 3, yf, SSWS next st, turnSet-up Row 3(WS): *p1, k1* repeat between** to last 3, yf, SSWS next st, turnSet-up Row 4(RS): k2, *yo, slk1-k2tog-psso, yo, k1* repeat be-tween ** to 5 before last shadow st, k1, yf, SSWS next st, turnSet-up Row 5(WS): P all sts to 4before last shadow st, SSWS next st (making sure to go through all sts from slk1-k2tog-psso on row below), turn

Row 1(RS): k1, k2tog, yo, k1, *yo, slk1-k2tog-psso, yo, k1* repeat between ** to 7 sts before last shad-ow st, yo, slk1-k1-psso, k1, SSRS next st, turnRows 2 and 4(WS): p all sts to 4 before last shadow st, SSWS next st, turnRow 3(RS): k2, * yo, slk1-k2tog-psso, yo, k1* repeat between ** to 5 before last shadow st, k1, SSRSnext st, turnRepeat Rows 1–4 until 11 sts remain between shadow sts, ending with a Row 4.

Next Row (RS): k1, k2tog, yo, k1, yo, slk1-k1-psso, k1, SSRS next st, turn Next Row (WS): p to last 3 sts (p shadow st pairs together as one), k1, p1, k1, break yarn

Row 5: k1, p1, kfb, k6, k2tog, yo, *k5, k2tog, yo* repeat between ** to last 10 sts, k7, kfb, p1, k1 (2 sts inc) Row 6: k1, p1, kfb, p6, p2togtbl, yo, *p1, yo, p2tog, p2, p2togtbl, yo* repeat between ** to last 12 sts, p1, yo, p2tog, p6, kfb, p1, k1 (2 sts inc) Row 7: k1, p1, kfb, k6, k2tog, yo, k2, *k1, yo, slk1-k1-psso, k2tog, yo, k2* repeat between ** to last 12 sts, k1, yo, slk1-k1-psso, k6, kfb, p1, k1 (2 sts inc) Row 8: k1, p1, kfb, p to last 3 sts, kfb, p1, k1 (2 sts inc)Repeat last 8 rows 4 more times. Break yarn. St counts as follows after each 8-row repeat: 218/232/246/260/274 sts.

Rolling Waves:Switch to C2. Set-up Row 1: k1, p1, kfb, k to last 3 sts, kfb, p1, k1 (276 sts)Set-up Row 2: k1, p1, k1, pm, k to last 3 sts, pm, k1, p1, k1Row 1(RS): k1, p1, kfb, sl m, k to last 3 sts, sl m, kfb, p1, k1 (2 sts inc) Row 2(WS): k1, p1, kfb, k to marker, sl m, p to next marker, sl m, k to 3 from end, kfb, p1, k1 (2 sts inc)

At Water's Edge:Rows 1(RS) and 2(WS): With C2, remembering to knit shadow st pairs together as one, k1, p1, k to last 2 sts, p1, k1Row 3: k1, p1, kfb, *kfb, k3* repeat between ** to last 6 sts, kfb, k2, kfb, p1, k1 (132 sts) Row 4: k1, p1, kfb, *p3, yo* repeat between ** to last 3, kfb, p1, k1 (176 sts)Row 5: k1, p1, k2, *k2, kfb, k3* repeat between ** to last 4 sts, k2, p1, k1 (204 sts)Rows 6 and 7: k1, p1, k1, p to last 3 sts, k1, p1, k1Break yarn. Switch to C1 and repeat last row one final time (WS).Underwater Life:Row 1: k1, p1, k4, k2tog, yo, *k5, k2tog, yo* repeat between ** to last 7 sts, k5, p1, k1 Row 2: k1, p1, kfb, p2, p2togtbl, yo, *p1, yo, p2tog, p2, p2togtbl, yo* repeat between ** to last 8 sts, p1, yo, p2tog, p2, kfb, p1, k1 (2 sts inc) Row 3: k1, p1, kfb, k2, k2tog, yo, k2, *k1, yo, slk1-k1-psso, k2tog, yo, k2* repeat between ** to last 8 sts, k1, yo, slk1-k1-psso, k2, kfb, p1, k1 (2 sts inc) Row 4: k1, p1, kfb, p to last 3 sts, kfb, p1, k1 (2 sts inc)

Row 3 (except for 5th time):k1, p1, kfb, k to marker, sl m, *k2tog 3 times, (yo, k1) 6 times, k2tog 3 times,* repeat be-tween ** to 2nd marker, sl m, k to last 3 sts, kfb, p1, k1 (2 sts inc)Row 3 (5th time only):open and remove both m before starting, k1, p1, kfb, pm, *k2tog 3 times, (yo, k1) 6 times, k2tog 3 times* repeat between ** to last 3 sts, pm, kfb, p1, k1 (2 sts inc)Row 4:k1, p1, kfb, k to last 3 sts, kfb, p1, k1 (2 sts inc)

Repeat last 4 rows 6 more times. On Row 18 (or the 5th time Row 3 is worked) use thealternate Row 3 instructions. St counts are as follows after each 4-row repeat: 284/292/300/308/316/324/332 sts. Break yarn.

Switch to C1. BO knitwise, loosely. Finishing: Weave in ends, soak in lukewarm water and block lightly to open up lacework pattern. Pin to shape scalloped edging, if necessary.

UNDERWATER LIFE CHART

Note: To use chart, follow written instructions up to **. Charted instructions may be used for the repeated portions of the written instructions.

AROHAI can't remember my grandmother, my mother's mother, that well, as she passed away

when I was very young. However, I can recall the stories that my mother told me and my

sibling, about her childhood on the family farm. My grandmother's name was Te Whanau

Pani Aroha, Māori for "Child Born of Love." My parents named me after her, giving me

"Aroha" as one of my middle names.

This shawl was created in honor of this connection. My grandmother raised her family of

six children in Gisborne, a town located next to Poverty Bay on the North Island of New

Zealand, as my grandfather tended to the farm. While trying to imagine what her life

was like in that coastal city, images of beautiful marine life and waves flowing gently over

white sand came to mind; these served as the inspiration behind the shawl's design.

Simple stockinette in white yarn represents sand, while bright red corals knit in the

feather and fan stitch stretch their limbs above. Stitches are picked up underneath each

coral section to provide an interesting textural element, adding to the imagery of vibrant

marine life.

---Françoise Danoy

Yarn: 1 skein of Thebe (Laceweight) inGentle and 1 skein of Celeste (Fingering Weight) in How Dare You! by Space Cadet Yarns

Fiber Content & Yardage: Thebe 65%Silk, 35% Linen,3.5oz/100g, 665 yards. Celeste 100% Superwash Merino Wool, 3.5oz/100g, 490 yards

Needles: US5 (3.75mm), 32in(80cm) cir-cular needle. A long circular needle is rec-ommended in order to accommodate the large number of stitches.

Gauge: (Unblocked) 22 sts and 34 rows =4 in (10cm) in St. st.

Finished Measurements: 38in (96.5cm)depth, 76in (193 cm) width

Experience Level: Adventurous beginnerwho can work lace and simple stripes and can pick up stitches

Other Supplies: tapestry needle, stitchmarkers

Notes:The stitch pattern is repeated on both halves of the shawl. Begin and end each row with k3 (garter stitch border). At the center stitch, k1 on the RS, and p1 on the WS. Stitch mark-ers are recommended. Each RS row will inc st count by 4 sts.

The shawl is worked top-down in four sections. Each section is bound off, then those stitches are picked up underneath for the next section, creating a 3-D layered effect.

Shawl Set-up Instructions:In C1, cast on 3 sts. K all sts for 10 rows. After final row, do not turn work around. Turn work 90 degrees and pick up and knit 5 sts in the purl ridge. Turn work 90 degrees again and pick up and knit 3 sts in the CO edge. (11 sts)

Set-up row: k3, place first m, p2, place second marker, p1, place third marker, p2, place fourth marker, k3 Remember that the first and last k3 stitches are for the garter stitch border and the stitch patterns are worked in between markers (first half between m1 and m2, second half between m3 and m4)

Section One

Stockinette Stitch Rows:Row 1 (RS): k3, sl m, yo, k to m, yo, sl m, k1, sl m, yo, k to m, yo, sl m, k3 (4 sts inc)Row 2 (WS): k3, sl m, (p to next m, sl m) 3 times, k3

Repeat last two rows 13 more times. (67 sts)

Using C2, work the following:Garter Stitch Rows: Row 1 (RS): k3, sl m, yo, k to m, yo, sl m, k1, sl m, yo, k to m, yo, sl m, k3 (4 sts inc)Row 2 (WS): k3, sl m, k to m, sl m, p1, sl m, k to m, sl m, k3

Switch back to C1 and work Stockinette Stitch Rows 1 and 2 again. (75 sts) Cut C1 yarn. Place life line in sts at this point to mark row.

Using C2, work the following:Feather and Fan Pattern:Rows 1, 5, 9, 13 (RS): k3, sl m, yo, k to center st, yo, sl m, k1, sl m, yo,k to last 3 sts, yo, sl m, k3 (4 sts inc) Rows 2, 6, 10, 14 (WS): k3, sl m, p all sts to last 3 sts (sl m as you come to them), k3

Row 3: k3, sl m, yo, *k2tog 3 times, (yo, k1) 6 times, ssk 3 times* repeat between ** to next m, yo, sl m, k1, sl m, yo, *k2tog 3 times, (yo, k1) 6 times, ssk 3 times* re-peat between ** to next m, yo, sl m, k3 (4 sts inc)

Rows 4, 8, 12, 16: k all sts to center m, sl m, p1, sl m, k to end

Row 7: k3, sl m, yo, ssk, yo, *k2tog 3 times, (yo, k1) 6 times, ssk 3 times* re-peat between ** to 2 sts before next m, yo, k2tog, yo, sl m, k1, sl m, yo, ssk, yo, *k2tog 3 times, (yo, k1) 6 times, ssk 3times* repeat between ** to 2 sts beforenext m, yo, k2tog, yo, sl m, k3 (4 sts inc)

Row 11: k3, sl m, (yo, ssk) twice, yo, *k2tog 3 times,(yo, k1) 6 times, ssk 3 times* repeat between ** to 4 sts before next m, (yo, k2tog) twice, yo, sl m, k1, sl m, (yo, ssk) twice, yo, *k2tog 3 times, (yo, k1) 6 times, ssk 3 times* repeat between ** to 4 sts be-fore next m, (yo, k2tog) twice, yo, sl m, k3 (4 sts inc)Row 15: k3, sl m, (yo, ssk) 3 times, yo, *k2tog 3times, (yo, k1) 6 times, ssk 3 times* repeat between ** to 6 sts before next m, (yo, k2tog) 3 times, yo, sl m, k1, sl m, (yo, ssk) 3 times, yo, *k2tog 3 times, (yo, k1) 6 times, ssk 3 times* repeat between ** to 6 sts before next m, (yo, k2tog) 3 times, yo, sl m, k3 (4 sts inc) (107 sts)

Work as follows to BO:Picot Bind-Off Method: *CO3 using the cable cast-on method, BO6, sl the one st on the right needle back to the leftneedle* repeat between ** to the end. Cut yarnand pull tail through rem st.

Section TwoWith WS facing and using C1, PU and k75 from the row where the life line is placed, making sure to PU the same number of sts on each side of the center st. When PU sts, pm as before: k3, pm, k34, pm, k1, pm, k34, pm, k3.

Work Stockinette Stitch Rows 23 times. (167 sts) Using C2, and work Garter Stitch Rows 1 and 2. (171 sts)Using C1, work Stockinette Stitch Rows 1 and 2. (175 sts)Repeat last 4 rows once more. (183 sts) Cut C1 yarn. Place life line in stitches at this point to mark row.

Using C2 yarn, work Rows 1-16 of the Feather and Fan Pattern, keeping the center stitch in stockinette, as established. (215 sts)

BO using the Picot Bind-Off Method.

Section ThreeWith WS facing and using C1, PU and k183 from the row where the life line is placed, making sure to PU the same amount of sts on each side of the center st. When PU sts, pm at k3, pm, k88, pm, k1, pm, k88, pm, k3.

Work Stockinette Stitch Rows 21 times. (267 sts) Using C2, work Garter Stitch Rows 1 and 2. (271 sts) Using C1, work Stockinette Stitch Rows 1 and 2. (275 sts)

Repeat last 4 rows twice more. (291 sts) Cut C1 yarn. Place life line in stitches at this point.

Using C2 yarn, work Rows 1-16 of Feather and Fan Pattern, keeping the center stitch in stockinette, as established.

BO using the Picot Bind-Off Method. (323 sts)

Section FourWith WS facing and using C1, PU and k291 from the row where the life line is placed, mak-ing sure to PU the same amount of sts on each side of the center st. When PU sts, pm at k3, pm, k142, pm, k1, pm, k142, pm, k3.

Work Stockinette Stitch Rows 19 times. (367 sts)Using C2, work Garter Stitch Rows 1 and 2. (371 sts)Using C1, work Stockinette Stitch Rows 1 and 2. (375 sts)

Repeat last 4 rows three times more. (399 sts) Cut C1 yarn.

Using C2 yarn, work Rows 1-16 of Feather and Fan Stitch, chart is on following page, keeping the center stitch in stockinette, as established. (431 sts)

BO using the Picot Bind-Off Method.

Weave in ends and block to measurements. Block the feather and fan sections aggressively.

After the shawl has dried, seam the edges of the feather and fan sections to the edge of the shawl, to prevent them from drooping. I recommend seaming them at the purl bumps on the garter stitch border.

32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 --

• • • • • • • • • • • • •

/ 0 / 0 " " " 0 0 0- -

16 0/� • • • • • • • •

0 0 0 / / - - • • • •

/ o"o

• •

"o - • •

"o 15

14 I I I I I I I I I I

0 0 13 I I I I I I I I I I

12 • • • • • • • • • • • • • • • • • • • • • • • • • • • •

0 0 � -------

0 "R:)l/ 0 / 0 " " " 0 0 0 / / / o"o 0 11 - -10

I I I I I I

jj 0 0. 9

8 • • • • • • • • • • • • • • • • • • • • • • • •

K)/ 0 " " " 0 0 0 0 0 0 / / / 0"01- - - - ----7

6 I I I I I I -

0 0 5

.4 • • • • • • • • • • • • • • • • • • • •

0 " " " 0 0 0 0 0 0 / / / 0 3

2

0 0 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2

Key

[RS: knit WS: purl

i• RS: purl WS: knit

/ RS: k2tog WS: p2tog

0 yo

grey no stitch

" RS: ssk WS: p2tog tbl

DRepeat

Feather and Fan Chart for Section Four

LYNNMy childhood is filled with precious and vibrant memories of my little self

running wild with twigs in my hair through the fields of Provence, swimming in a

small creek only local people knew, pretending that I was a mermaid and

belonged to the crystal blue water where I loved to spend many hours. The Lynn stole is an autobiographical piece, a reflection on precious

memories in Provence and more particularly the many hours spent on the

beach collecting treasures from the sea, like seashells and polished glass.

The stole itself is knitted in two pieces that mirror each other, and then

grafted together. The bottom part of the stole features an interesting repetition

of lacy seashells stitch that slowly disappears in the stockinette portion of the

stole, mimicking the movements of the water.

--Melody Hoffmann

Yarn: 1 skein of Space Cadet Thebe

Colorway shown: Feather

Fiber Content & Yardage: 65% Silk, 35% Linen3.5oz/100g approx. 665 yards (608m)

Needles: US5 (3.75mm)

Gauge: 25 sts and 28 rows = 4in(10cm) in stock-inette stitch after heavy blocking

Finished Measurements: 39in(100cm) fromlace border to center. 78in(200cm) from border to border, 11in(29cm) from side to side

Experience Level: Intermediate knitter whocan knit and purl, work flat, knit lace, and graft two pieces together

Other Supplies: tapestry needle, additionalneedle of same size for bind off, waste yarn

Make Fan:The fan is worked from right to left and increases in height for each of the first 3 fan sts, then the height of the loops decrease down for the last 3 fan sts. Make sure that the fan stitches are loose enough to lie flat and not pull fabric.To work: insert right hand needleinto first eyelet on the RS row di-rectly below current row, pulling through a long loop, repeat this into the next eyelet when work-ing right to left two RS rows be-low, and again into each of the next eyelet three RS rows below. To complete the fan, work this three more times - one more time on the same row as the last in the next eyelet three RS rows below, once into the next eyelet two RS rows below and finally i nto the next eyelet on the RS row directly below. (6 sts inc) for video tutorial https://vimeo.com/171223343/0a1bf1 3df4

Instructions(make 2)

CO 80Row 1 (RS): k1, *k2, skp, sl2, k3tog, p2sso,k2tog, k2*, repeat between ** to last st, k1 (44 sts) Row 2: (WS): p4, *yo, p1, yo, p6* repeat between ** to last 5 sts, yo, p1, yo, p4 (56 sts)Row 3: k1, yo, *k2, skp, k1, k2tog, k2, yo*repeat between ** to last st, k1 (51 sts)Row 4: p2, *yo, p2, yo, p3, yo, p2, yo, p1* repeat between ** to last st, p1 (75 sts)Row 5: k2, *yo, k1, yo, skp, k1, sk2p, p1, k2tog,(yo, k1)x2* repeat between ** to last st, k1Row 6: p all stsRow 7: k5, *yo, sl2, k3, p2sso, yo, k7* repeatbetween ** to last 10 sts, yo, sl2, k3, p2sso, yo, k5Row 8 (WS): k4, p to last 4 sts, k4Rows 9 (RS): k all stsRows 10-12: Rows 8-9, then work Row 8again

Little Shells LaceRow 13 (RS): k13, *yo, skp, k10* repeat between ** to last 14 sts, yo, skp, k12 Rows 14-28 (WS): k4, p to last 4 sts, k4 Row 15: k11, *k2tog, yo, k1, yo, skp, k7* repeat between ** to last 16 sts, k2tog, yo, k1, yo, skp, k11Row 17: k10, *k2tog, yo, k3, yo, skp, k5* repeat between ** to last 17 sts, k2tog, yo, k3, yo, skp, k10Row 19: k all stsRow 21: k7, yo, skp, *k10, yo, skp* repeat between ** to last 6 sts, k6Row 23: k8, yo, skp, *k7, k2tog, yo, k1, yo, skp* repeat between ** to last 17 sts, k7, k2tog, yo, k8Row 25: k9, yo, skp, *k5, k2tog, yo, k3, yo, skp* repeat between ** to last 16 sts, k5, k2tog, yo, k9Row 27: k all stsRows 29-38: Rows 13-20, then Rows 19-20 againRows 39-48: Rows 21-28, then Rows 27-28 againRows 49-68: Rows 29-48Rows 69-70: Repeat Rows 27-28 again

Seashells Fan LaceRow 71: k11, k2tog, yo, k1, yo, skp, k9,yo, skp, *k10, yo, skp* repeat between ** once more, k8, k2tog, yo, k1, yo, skp, k11Rows 72-128 (all WS except 78, 90, 102, 114, and 126): k4, p to last 4 sts, k4 Row 73: k10, k2tog, yo, k3, yo, skp, k6,k2tog, yo, k1, yo, skp, *k7, k2tog, yo, k1, yo, skp* repeat between ** once more, k6, k2tog, yo, k3, yo, skp, k10Row 75: k9, k2tog, yo, k5, yo, skp, k4,k2tog, yo, k3, yo, skp, *k5, k2tog, yo, k3, yo, skp* repeat between ** once more, k4, k2tog, yo, k5, yo, skp, k9Row 77: k14, make fan, k48, make fan, k13 (87 sts)Row 78 (WS): k4, p9, p6tog, p48, p6tog,p10, k4 (77 sts)Rows 79 and 81: k all stsRow 83: k4, k14, k2tog, yo, k1, yo, skp,k9, yo, skp, k10, yo, skp, k8, k2tog, yo, k1, yo, skp, k18Row 85: k17, k2tog, yo, k3, yo, skp, k6,k2tog, yo, k1, yo, skp, k7, k2tog, yo, k1, yo, skp, k6, k2tog, yo, k3, yo, skp, k17

Row 87: k16, k2tog, yo, k5, yo, skp, k4, k2tog,yo, k3, yo, skp, k5, k2tog, yo, k3, yo, skp, k4, k2tog, yo, k5, yo, skp, k16Row 89: k21, make fan, k36, make fan, k20(89 sts)Row 90(WS): k4, p16, p6tog, p36, p6tog,p17, p4 (79 sts)Rows 91 and 93: k all stsRow 95: k25, k2tog, yo, k1, yo, skp, k9, yo,skp, k8, k2tog, yo, k1, yo, skp, k25Row 97: k24, k2tog, yo, k3, yo, skp, k6, k2tog,yo, k1, yo, skp, k6, k2tog, yo, k3, yo, skp, k24Row 99: k23, k2tog, yo, k5, yo, skp, k4, k2tog,yo, k3, yo, skp, k4, k2tog, yo, k5, yo, skp, k23Row 101: k28, make fan, k24, make fan, k27(91 sts)Row 102(WS): k4, p23, p6tog, k24, p6tog,p24, k4 (81 sts)Rows 103 and 104: k all stsRow 107: k32, k2tog, yo, k1, yo, skp, k7,k2tog, yo, k1, yo, skp, k32Row 109: k31, k2tog, yo, k3, yo, skp, k5,k2tog, yo, k3, yo, skp, k31Row 111: k30, k2tog, yo, k5, yo, skp, k3,k2tog, yo, k5, yo, skp, k30Row 113: k35, make fan, k12, make fan, k34(93 sts)

Row 114(WS): k4, p30, p6tog, p12, p6tog,p31, k4 (83 sts)Rows 115 and 117: k all stsRow 119: k39, k2tog, yo, k1, yo, skp, k39 Row 121: k38, k2tog, yo, k3, yo, skp, k38 Row 123: k37, k2tog, yo, k5, yo, skp, k37 Row 125: k42, make fan, k41 (89 sts)Row 126(WS): k4, p37, p6tog, p38, k4 (84sts)Row 127: k all stsRepeat Rows 127-128 until piece mea-sures approx. 19in.(48cm) from the CO edge. Place sts on scrap yarn. Soak and block.

Grafting Place the two blocked pieces with the WS facing each other, BO as follows: with 3rd needle, ktog 1st st on both needles. Repeat. Pass 1st st over 2nd st, as for a standard BO. Repeat ktog and pass to BO pattern to last st. Break yarn and pull through last st.

SARAHThere are times I have needed to be pointed in the right direction. Since I am easily distracted and have incredibly high energy reserves, pointing me in the right direction is something that needs to be done quite frequently. Finessing that guidance is not an easy task, although Sarah does make it appear that way. Sarah has been thoughtfully guiding me as a friend and colleague for several years. She can look through the jumbled disarray of my creations and by thoughtfully asking one or two questions she ef-fectively sorts through detracting pieces and sets things back on a clearer path. Sarah is much smarter than me, which I enjoy, mostly because she never makes me feel like I am not as smart as she is. She laughs easily, shares genuinely and guides those around her with a steadfast dedication. She wants us to be our better selves. We are fortunate to have her as Managing Editor of 6 Bits Storybooks.This cowl is a great project to use small amounts of yarn. Add more panels to it to create a cowl that drapes longer, or can be wrapped two, perhaps three, times! A great traveling companion, the Sarah cowl is perfect for commutes or vacation knitting.

--Melissa Schoenwether

Yarn: 3 mini-skeins of SpaceCadet Maia,20g each assorted colours from Mini-Skein Club

Fiber Content & Yardage: Full Skeinsof Maia 80% Bamboo, 20% Superwash Merino; 4-ply. Each skein is approximately 3.5oz/100g, and the yarn contains approximately 400 yards per 100gNeedles: US4 (3.5mm) or size necessaryto achieve gauge in garter

Gauge: 40sts x 30 rows = 4in(10cm) gar-ter but not crucial for fit.

Finished Measurements: Approx. 4in wide x 36 in (10 x 91.5 cm) long before seamingExperience Level: Adventurous Begin-ner who can knit, purl, add yarn, and is ready to try a few new stitches.

Other Supplies: tapestry needle

Notes: Each colour choice uses approximately 1 mini skein 20 g/75-98 yds, making the cowl a great opportunity to use stash. For a more inten-tional look, opt for using the same base. To give your cowl a more unique look, you can mix bases. Be sure to swatch and test for best results, as mixing up bases may lead to changes in gauge.

Interested in knitting this with just a single skein of yarn? Why not! Simply follow the di-rections as given with one skein of fingering weight yarn (approx. 225-300 yds) and omit the changes from C1 to C2 to C3.

When slipping the center stitch in contrasting colour of garter panel, be sure to slip as if to purl.

Left Twist (LT): skip 1 st, k through back loop of next st but do not drop this st off needle, k the skipped st and drop both sts off left-hand needle (worked over 2 sts)

Right Twist (RT): skip 1 st, k next st as usu-al, but do not drop this st off needle, k the skipped st and drop both sts off left-hand nee-dle (worked over 2 sts)

Using C1, CO 39 loosely using Long Tail CO, turn work and p all sts.Arrowhead:Row 1 (RS): LT, k to last 2 sts, RTRow 2 (WS): purlRow 3: k1, LT, k to last 3 sts, RT, k1Row 4: k2, p to last 2 sts, k2Row 5: k2, LT, k to last 4 sts, RT, k2Row 6: k3, p to last 3 sts, k3Row 7: k3, LT, k to last 5 sts, RT, k3Row 8: k4, p to last 4 sts, k4Row 9: k4, LT, k to last 6 sts, RT, k4Row 10: k5, p to last 5 sts, k5Row 11: k5, LT, k to last 7 sts, RT, k5Row 12: k6, p to last 6 sts, k6Row 13: k6, LT, k to last 8 sts, RT, k6Row 14: k7, p to last 7 sts, k7Row 15: k7, LT, k to last 9 st, RT, k7Row 16: k8, p to last 8 sts, k8Row 17: k8, LT, knit to last 10 sts, RT, k8Row 18: k9, p to last 9 sts, k9Row 19: k9, LT, knit to last 11 sts, RT, k9Row 20 : k10, p to last 10 sts, k10Row 21: k10, LT, k14, RT, k10Row 22: k11, p17, k11Row 23: k11, LT, k13, RT, k11Row 24: k12, p15, k12Row 25: k12, LT, k11, RT, k12Row 26: k13, p13, k13Row 27: k13, LT, k9, RT, k13Row 28: k14, p11, k14

Row 29: k14, LT, k7, RT, k14Row 30: k15, p9, k15Row 31: k15, LT, k5, RT, k15Row 32: k16, p7, k16Row 33: k16, LT, k3, RT, k16Row 34: k17, p5, k17Row 35: k17, LT, k1, RT, k17Row 36: k18, p3, k18

Garter Panel with CC center stitch:Set up (WS): Continuing with C1, k19, then p1 using C2 (note: hold end of yarn in front), using C1, k19 Row 1 (RS): Using C1 k19, sl 1, k19Row 2 (WS): Using C1 k19, with C2 p1, C1 k19Work Rows 1 and 2 over 52 rowsDo not BO. Break both yarns leaving 6 to 8 in tail

Join CC2 (to replace C1) begin working Arrowhead portion.

Second Garter Panel with CC center stitch:Set up (WS): Continuing with C2, k19, then p1 using C3 (note: hold end of yarn in front) using C2, k19Row 1 (RS): Using C2 k19, sl 1, k19Row 2 (WS): Using C2 k19, with C3 p1, C2 k19Work Rows 1 and 2 over 52 rowsDo not BO. Break both yarns leaving 6 to 8 in tail

Join with CC3 (to replace C2) begin working final Ar-rowhead portion.

Third Garter Panel with CC center stitch: Set up (WS): Continuing with C3, k19, then p1 using C1 (note: hold end of yarn in front), using C3, k19Row 1 (RS): Using C3 k19, sl 1, k19 Row 2 (WS): Using C3 k19, with C1 p1, C3 k19Work Rows 1 and 2 over 52 rows.Bind off loosely.Soak and block.Seam ends together to form cowl. Weave in any additional ends.

Tal-Moon My youngest two children love their big sister in a way completely different than I am

able to experience. To them she is hero, peer, playmate, guide, sympathizer, as well

as informant and boss. They give me fresh perspectives of my little girl who grew up

overnight. The way they claim ownership of their special relationship is even

marked by what they name her.

I call her Tal, they call her Tal-Moon.

We all love her deeply.

And differently.

This piece for you to knit is varied in the same way. A straightforward knit, with rhyth-

mic, repetitive lace, Tal-Moon can be worn several different ways, giving distinct

looks. Inside-out, front to back, it can become your well loved, three season ward-

robe staple. Layer under it, layer over it. However you decide to wear it, I hope it

serves as a reminder to you that you are loved in many unique ways by those who see

you through many special vantage points.

--Melissa Schoenwether

Yarn: 2 skeins all sizes Maia by Space CadetYarn

Colorway shown: How Dare You!

Fiber Content & Yardage: 80% Bamboo,20%Superwash Merino; 4-ply. 3.5oz/100g 400 yards per 100g

Needles: US4 (3.5mm) or size necessary toachieve gauge in both Wandering Garden pattern and St st

Gauge: 20sts x 32rows = 4in(10cm) worked inEnglish Garden pattern and stockinette

Finished Measurements: Bust: 34(39,44,48.5)in [86.4(99.1,111.8,124.5)cm] Shoulder to bottom edge: 18 (19,19.5,20)in [45.7(48.3, 49.5, 50.8) cm]

Experience Level: Able to work in pattern andcomfortable with seaming, picking up sts

Other Supplies: tapestry needle, stitch marker

Notes: Top is worked flat from bottom towards shoulders. Pieces will be seamed at shoulder and along sides from bottom to armhole openings. Stitches are picked up along armhole openings for finished edging, knit flat and sewn together. You may find it helpful to block front and back pieces prior to seaming and finishing garment. Once complete, garment can be lightly press-blocked to smooth overall appearance.

Wandering GardenWritten Instructions:Row 1: k2, *yo, ssk, k1, k2tog, yo, k1* repeat between ** to last 7 sts, yo, ssk, k1, k2tog, yo, k2Rows 2 - 8 (WS only): p all stsRow 3: k2, *yo, k1, sk2p, k1, yo, k1* repeat be-tween ** to last 7 sts, yo, k1, sk2p, k1, yo, k2 Row 5: k2, *k2tog, yo, k1, yo, ssk, k1* repeat between ** to last 7 sts, k2tog, yo, k1, yo, ssk, k2Row 7: k1, k2tog *k1, yo, k1, yo, k1, sk2p* repeat between ** to last 6 sts, k1, yo, k1, yo, k1, ssk, k1

Wandering Garden Chart

FrontUsing US4 (3.5 mm) or size necessary to obtain gauge, CO 87(99, 111, 123) sts using Cable CO method. Set-up Rows 1-5: k all sts Work Wandering Garden pattern across all sts until piece measures 18(19, 19.5, 20)in [45.7(48.3, 49.5, 50.8)cm] from CO edge. BO all sts.

Back Using US4 (3.5 mm) or size necessary to obtain gauge, CO 87(99, 11,123) sts using cable method. Set-up Rows 1-5: k all sts Work in St st, starting with a RS row, until piece measures 11.5(12, 12.5, 12.75)in [29(30.5, 31.75, 32.5)cm] from CO edge.Work rows 1-8 of Wandering Garden pattern twice. Work in St st until back piece is same length as front. BO all sts.It is recommended to block pieces to measurements before continuing.

With WS facing each other, align front and back pieces of top to work:Shoulders Seam using mattress stitch from outer edge of pieces inward for 4(5, 5.5, 6.75)in [10(12.75,14,170)cm] Repeat for second shoulder.SidesSeam using mattress stitch starting at low-er garment edge 10.5(11, 11.25, 11.25) in [26.7(27.9, 28.6, 28.6)cm] Repeat for other side seam.

Armhole Openings (work for each side)Using needles necessary to create gauge for St st, PU all sts along armhole opening for front and back pieces, beginning at lower front and ending at low-er back arm opening. Do not join.K all sts for 5 rows. BO all sts.Seam edges of armholes.

Special stitchessk2p (double decrease): Slip next st knit wise to right-hand needle, k2tog, pass slipped st over st from k2tog

ssk (slip, slip, knit): Slip the next 2 sts to the right-hand needle one at a time as if to knit; return them to the left -hand needle one at time in their new orientation; knit them together through the back loop(s)

AlānaMy youngest daughter sees every single thing I knit worthy of a parade, with

horns sounding, confett i f i l l ing the skies, and much applause. After al l her hoopla

she wil l sometimes ask, “What did you make?” and it always makes me laugh. She

is amazed and proud by the work of my hands no matter what I create. ( I often

think about lending her to other knitters who forget what incredible art isans they

are.)

The only thing funnier than Alāna asking me to explain what I have made after she

has blasted the trumpets is the nonchalant way she tr ies to acquire whatever I

have just bound off . Sometimes she just needs to hold it for a minute upstairs in

her bedroom. Other t imes her stuffed animals would enjoy seeing her try it on and

she wil l bring it r ight back…

Have fun knitt ing this. I t is the exclusive pattern for subscribers.

It ’s Alāna approved and she is prepared to clap loudly for you when you f inish.

—Melissa Schoenwether

Yarn: C1: SpaceCadet Yarn Oriana in Mars1 skein and C2: SpaceCadet Yarn Maia in How Dare You! 1(1,2,2) skeins

Fiber Content & Yardage: Oriana: 100% superwash merino wool 3.5oz/100g approx. 420yds/384m Maia: 80% Bamboo, 20% Superwash Merino 3.5oz/100g 400 yards per 100g

Needles: US6 (4mm) 32in. (81.25cm) circu-lar needles or size needed for gauge and US7 (5mm) 32in. (81.25cm) circular needles or 1 size larger than needed for gauge

Gauge: 16 sts x 30 rounds = 4 in.(10cm) with1 strand each yarn held together in St st

F in ishedMeasurements :XS(S,M,L ) -32 (34,36,38in)[81(86,91.5,96.50)]cm bust, 18.75(19,20,21)in, [47.5948.25,51,53.25)]cm length , 36(38,40,42) in,[91.5(96.5,01.5,106.5)] cm bottom circumference

Experience Level: Knitter who can knit, purl,and work with two yarns

Other Supplies: tapestry needle, stitchmarkers (4)

Using US6 (4mm) and 1 strand of C1 and C2 held together, CO 120(128,134,140)sts using Long-Tail method, pm and join to begin work in the round.Set-up Rnd: k47(49,52,53) for back, pm, p3(4,4,4), k3(3,3,4), p1, k3(3,3,4), p3(4,4,4) for left side, pm, k47(49,52,53) for front, pm, p3(4,4,4), k3(3,3,4), p1, k3(3,3,4), p3(4,4,4) for right side.Rnds 1-6: *k to m, p3(4,4,4), k3(3,3,4), p1, k3(3,3,4), p3(4,4,4), sm* repeat between ** for roundRnd 7(inc): *k to m, p3(4,4,4), k3(3,3,4), pfb, k3(3,3,4), p3(4,4,4), sm,* repeat between ** for round 122(130,136,142)stsRnds 8-13: *k to m, p3(4,4,4), k3(3,3,4), p2, k3(3,3,4), p3(4,4,4), sm, repeat between ** for roundRnd 14 (inc): *k to m, p3(4,4,4), k3(3,3,4), pfb, p1, k3(3,3,4), p3(4,4,4), sm,*repeat between ** for round 124(132,138,144)stsRnds 15-20: *k to m, p3(4,4,4), k3(3,3,4), p3, k3(3,3,4), p3(4,4,4), sm, *repeat between ** for roundRnd 21 (inc): *k to m, p3(4,4,4), k3(3,3,4), p1, pfb, p1, k3(3,3,4), p3(4,4,4), sm,* repeat between ** for round 126(134,140,146)stsRnds 22-27: *k to m, p3(4,4,4), k3(3,3,4), p4, k3(3,3,4), p3(4,4,4), sm,* repeat between ** for roundRnd 28 (inc): *k to m, p3(4,4,4), k3(3,3,4), p1, pfb, p2, k3(3,3,4), p3(4,4,4), sm,* repeat between ** for round 128(136,142,148)stsRnds 29-34: *k to m, p3(4,4,4), k3(3,3,4), p5, k3(3,3,4), p3(4,4,4), sm,* repeat between ** for round

Rnd 35(inc): *k to m, p3(4,4,4), k3(3,3,4), p2, pfb, p2, k3(3,3,4), p3(4,4,4), sm,* repeat between ** for round 130(138,144,150)stsRnds 36-41: *k to m, p3(4,4,4), k3(3,3,4), p6, k3(3,3,4), p3(4,4,4), sm,* repeat between ** for roundRnd 42(inc): *k to m, p3(4,4,4), k3(3,3,4), p2, pfb, p3, k3(3,3,4), p3(4,4,4), sm,* repeat between ** for round 132(140,146,152)stsNote: Skip to Single Color Band for sizes XS and S, and after Row 48 for size M.Begin single color band.For M and L sizes:Rnds 43-48: *k to m, p-(-,4,4), k-(-,3,4), p7, k-(-,3,4), p-(-,4,4), sm,* repeat between ** for roundFor L size:Rnd 49 (inc round): *knit to m, p-(-,-,4), k-(-,-,4), p3, pfb, p3, k-(-,-,4), p-(-,-,4), sm,* repeat between ** for round and begin single color band -(-,-,154)sts

Single Color Band:Break C2 and continue using only C1Work 8(8,10,10) rnds in established pattern without incr.

Single Color Bottom:All sizes:Break C1 and rejoin using C2 and larger needles, begin working Rnds 1-6: *k to m, p3(4,4,4), k3(3,3,4), p7(7,7,8), k3(3,3,4), p3(4,4,4), sm* repeat between ** for round

Rnd 7(inc): *k to m, p3(4,4,4), k3(3,3,4), p3(3,3,4), pfb, p3, k3(3,3,4), p3(4,4,4), sm,* repeat between ** for round134(142,148,156)stsRnds 8-13: *k to m, p3(4,4,4), k3(3,3,4), p8(8,8,9), k3(3,3,4), p3(4,4,4), sm* repeat between ** for roundRnd 14(inc): *k to m, p3(4,4,4), k3(3,3,4), p3(3,3,4), pfb, p4, k3(3,3,4), p3(4,4,4), sm,* repeat between ** for round 136(144,150,158)stsRnds 15-20: *k to m, p3(4,4,4), k3(3,3,4), p9(9,9,10), k3(3,3,4), p3(4,4,4), sm* repeat between ** for roundRnd 21(inc): *k to m, p3(4,4,4), k3(3,3,4), p3(3,3,4), pfb, p5, k3(3,3,4), p3(4,4,4), sm, repeat between ** for round 138(146,152,160)stsRnds 22-27: *k to m, p3(4,4,4), k3(3,3,4), p10(10,10,11), k3(3,3,4), p3(4,4,4), sm* repeat between ** for roundRnd 28(inc): *k to m, p3(4,4,4), k3(3,3,4), p4(4,4,5), pfb, p5, k3(3,3,4), p3(4,4,4), sm,* repeat between ** for round 140(148,154,162)stsContinue to work in pattern without further inc until piece measures 10in.(25.4cm) from start of single color bottom.

Split bottom:Set-up Row: k47(49,52,53) back sts to m, p3(4,4,4), k3(3,3,4), p3(3,3,4), p2tog, turn work, k4(4,4,5), p3(3,3,4), k3(4,4,4), p47(49,52,53) back sts to bor m, k3(4,4,4), p3(3,3,4), k4, k2tog, turn work. You will continue to work just these 68(72,75,79)sts. If desired, sl70(74,77,81)sts not being worked on to waste yarn, or simply work with them resting on the needle.

Row 1(RS): p5, k3(3,3,4), p3(4,4,4), k47(49,52,53), p3(4,4,4), k3(3,3,4), p4(4,4,5)Row 2(WS): k4(4,4,5), p3(3,3,4), k3(3,3,4), p47(49,52,53), k3(3,3,4), p3(3,3,4), k4(4,4,5)Work Rows 1 and 2 a total of 5(6,6,7) times.BO loosely. Break yarn.Rejoin yarn to work remaining sts.Set-up Row (WS): k2tog, k3(3,3,4), p3(3,3,4), k3(4,4,4), p47(49,52,53), k3(4,4,4), p3(3,3,4), k4, k2tog -- 68(72,75,79)stsWork Rows 1 and 2 above a total of 3(3,3,4) times to make the front shorter, as shown. To make front and back same length work Rows 1 and 2 a total of 5(6,6,7) times.BO loosely.

Racerback Neck:Starting at CO edge with RS of garment facing, using US6 (4mm) and C1 PU120(126,132,136)sts, starting at left side of front, just after the ribbed side panel, pm to work in the round.Rnd 1: p all stsRnd 2: k all stsWork Rnds 1 and 2 once more, then Rnd 1 one final time.Next Rnd: k23(24,26,26), BO97(102,106,110)sts, continue to k23(24,26,26) live sts, turn workContinue to k23(24,26,26)sts every row until piece measures 18(18.25,18.5,18.75)in.[45.7(46.4,47,47.6)cm] when stretched. BO loosely. Seam BO edge as shown to create fabric to go behind neck of top.

Anchoring Panel for Racerback:From back section of garment, using US6(4mm) PU14(14,16,16) sts making sure to center the PU sts. Knit every row until piece measures 5.5(5.75,6,6.25)in. [14(14.6,15.2,15.9)cm]. BO all sts.Sew BO edge to center back Racerback Neck as shown.Weave in all ends.Soak and lightly block.

Abbrev i at i ons& te rms to know

Individual patterns have special techniques and terms given at the start of the pattern. Helpful notes, considerations and alteration ideas will also be shared there. Please refer there for spe-cialized explanations.

BO: bind offBOR: beginning of roundC1: colour 1C2: colour 2 C3: colour 3 cm: centimeterCN: cable needleCO: cast ondec: decreasedpn: double pointed needle in: inchinc: increasek: knitk2tog: knit two stitches together (1 stitch decreased)m: markerp: purlp2tog: purl two stitches together (1 decreased)p6tog: purl six stitches together (5 decreased)pfb: purl into the front and back of stitch (1 increased)

pm: place marker psso: pass slipped stitch over PU: pick up rep: repeatrnd: roundRS: right side sk2p: slip next st knit wise to right-hand needle, k2tog, pass slipped st over st from k2tog (double decrease)sl: slipslk: slip the next st as if to knitsl m: slip marker ssk: slip slip knit (1 st dec)st(s): stitch(es)tbl: through the back loopWS: wrong sidewyb: with yarn in backwyf: with yarn in frontyo: yarn over needle (one stitch increased) yf: bring yarn between needles to front of work

Swatch and Tell: Getting to Know New Shawl Yarnsby Melissa Schoenwether, Amy Kenagy, and Francoise Danoy

Ever wondered what attributes of a yarn were important to the creation of the pattern? Or perhaps you just needed to understand how the fiber behaved in order to make substitution easier?

Knowing what was on the mind of a designer as they worked with the recommended yarn for the sample really does help you as a knitter decide what fibers or blends would more closely recreate the design. Amy Kenagy, designer of Bonnie, and Françoise Danoy, designer of Aroha, share what things to consider as you knit their shawls, and I have some thoughts on the summer shell I created in Maia. Whether you choose to knit with Space Cadet’s Oriana, Thebe, or Maia or to support a local dyer with a different base altogether, getting a glimpse behind the bigger picture is always interesting.

SpaceCadet Maia, 80% bamboo, 20% superwash merino

Melissa

I played with a bamboo and wool base with the intention of creating a simple knit to wear in warmer weather. I wanted a garment that would glisten like waves at the beach when the summer sun hits them— that sparkling light that makes you smile and feel lighter and brighter! Maia has that sheen as well as a smooth, glossy feel. If you look locally to find substitutions, let any colour have a chance. The stockinette stitch portions are great canvases for any shade you love. The lace work has enough movement in the stitch construction that a solid, semi-solid or tonal would be my first inclination, but if you are bold and want to give variegated a try: GO FOR IT! I suggest working the lace segment as a generous swatch, however, in order to determine if the colour movement works well with the variety in the stitch movement.

Maia has a great drape due in part to the weight of the yarn. Give linen or a linen/wool blend a chance for this if you have access to some in your personal stash or from a local supplier. Linen has a crisp structure that would be a beautiful alternative to the bamboo/wool blend of Maia.

Francoise

The Aroha Shawl uses two types of yarns from SpaceCadet, Celeste and Thebe. Celeste is 100% Superwash merino wool, and Thebe is 65% silk and 35% linen. I’ve worked plenty with merino fibers before, as they are my go-to fiber for their softness, durability, elasticity, and good stitch definition. If you were to substitute Celeste with another fingering weight yarn, I highly recommend staying within the realm of merino wools or blends. A merino and cashmere blend would be quite divine.

Coral yarn, SpaceCadet Celeste, 100% superwash merino wool

SpaceCadet Thebe, 65% silk, 35% linen

Working with Thebe was the first time I have used a silk and linen blend. Linen is a summer yarn -- it doesn’t trap in heat like merino wool, it is very breathable, it’s a strong fiber when wet, and it’s very soft. Silk’s properties give fibers a nice shine, and the combination of the two fibers creates a quite luxurious fiber. The biggest drawback that both linen and silk share is that any knitting irregularities, changes in gauge, or small mistakes are quite apparent and not easily smoothed out by blocking.

So why did I choose to work this yarn in stockinette stitch? Because I wanted to embrace the irregularities in the fabric, find the beauty in imperfections. After all, nature is full of beautiful imperfections -- and the shawl’s design is heavily influenced by the natural world. I highly recommend staying within the realm of linen fibers if using a substitute. A 100% linen yarn may be a bit rough on the hands while knitting (though will soften up with wash and wear) and will really emphasize the irregularities in the stitches, more than the silk/linen blend, so keep that in mind!

Light Turquoise: SpaceCadet Oriana, 90% superwash merino, 10% nylon

Amy

I ended up knitting the Bonnie shawl twice, each out of a different yarn. The first, out of the bright and tropical colors of SpaceCadet Yarns Oriana, is more representative of the coral reefs in the Pacific Ocean. The other, out of Madelinetosh Tosh Merino Light, is what I envision when I think of the dark colors of the lake where I spend my summers.

Both of these 100% superwash Merino fingering weight yarns knit up at a lightweight and open gauge on the recommended needle. The swatches, knit on the same size needles, are almost exactly the same size and have a very similar yardage per skein. But the similarities end there. Oriana is a yarn with a cotton-like feel and look. It is made out of very fine plies spun together to create a round yarn. It has a dense feel and a smooth finish, which creates crisp and clear stitch definition. Oriana also has incredible memory. I was surprised that my swatch out of the Oriana was the same size pre- and post-blocking once dry. The blocked swatch was much softer and had more drape, so I do recommend a nice soak.

Background: Madelinetosh Tosh Merino Light, 100% merino

On the other hand, the Tosh Merino Light, or TML, is a single-ply yarn. Like many single-ply yarns, it has a subtle halo that causes slightly less clear stitch definition. This yarn loves to be blocked. A few minutes in a lukewarm bath opened up the stitches and helped it to lay flat. Like the Oriana, TML was softer and had more drape after being soaked and laid out to dry. It was slightly larger post-blocking, but not by much. The shawl made out of TML has a much lighter feel than the Oriana and a softer finished quality with more drape. TML is noticeably thinner once blocked, with a much less dense texture, though it doesn’t hold it’s shape as well and needs a bit more help to stay fresh looking.

When looking for yarn substitutions for Bonnie, fabric quality is the biggest factor for yarn choice. Both of these yarns produced a lovely finished object and have favorable qualities for creating a beautiful shawl. A yarn with added silk would produce a lightweight shawl with more drape, while sticking with a superwash merino yarn, or even a blend with nylon, would generate a denser and more elastic finished object.

Lessons in Creativity... and Bravery by Stephanie Alford

I didn’t even notice that the Ides of March had passed this year. A lot of people don’t note that date in particular, but I do. It’s been a wonderfully exciting, exhausting whirlwind of a year so far and the days are rushing past so fast that I can nearly hear the whoosh, and so the 15th of March flew by without my even stopping to note its significance. But this year, it marked the sixth anniversary of SpaceCadet, my little hand-dyed yarn company.

And I should pause on that day, because few things amaze me the way this journey I’ve been on has. Six years has changed so much and, when I look back, the changes I note are not in the way I dye or the size of the business or anything like that – it’s the changes in myself that I find most remarkable. Six years of trying and learning, and failing and adapting, of three steps forward and one step back… Six years of believing and hoping, of dusting off and getting up again, of asking and finding and discovering…

I approach my business differently now than I did when I started it, and so many of those lessons have spilt over so that I approach my life differently too. I think I might have reached this point many years down the road anyway, but running SpaceCadet has been like an accelerator course for me, giving me those lessons in double-quick time.

Looking back over what I’ve learned, the biggest lessons have been on the subjects of creativity… and bravery. I’d like to share some of them with you.

Creativity comes from doing

For a long time, I thought artists waited for inspiration to strike, like lighting bursting from a dark sky and filling the earth below with its bright energy. But after dyeing thousands upon thousands of skeins of yarn, I can tell you that creativity is actually nothing like that. The more you sit and wait, the harder it is to find inspiration – it becomes thin and floats away and disappears. I’ve found that when I need to summon my creativity, even during a mental drought, thinking it over too much or waiting for inspiration to turn up is the worst thing I can do. Instead, I have to get started dyeing something… anything. Even if I choose a colourway I’ve dyed a hundred times before, it’s the act of making that pulls my creativity out of hiding. Turning the wet skeins over in my hands, rhythmically moving them from one dyepot to another, my mind begins to free itself the ideas start to flow again. Creativity comes from doing.

Creativity is a learned skill

It’s easy to think that true creativity is an innate gift bestowed on those born with artistry in their souls. But over time, running my business has taught me that it’s actually a learned skill, one that is built and honed with practice. The more I allow myself to be creative (either at my dyepots or in my photography or in my business planning), the more easily I am able think of new ideas or figure out solutions to other problems. It’s like I get into a creative flow that shifts my perspective and allows me to see possibilities where before there were only barriers. And it’s be-cause being creative is actually a skill which, just like any skill, can be learned and practiced and improved over time.

Creativity is a multiple-step process

For a long time, I held onto a belief that was a huge barrier to my growth as both a fiber artist and a business woman: I expected my best work to happen in one take, to kind of burst forth into the world fully formed. And so I’d stand in front of the dyepots and pressure myself to create the perfect colourway first time. Or when I picked up my camera, I expected myself to do a better job than I did last time – every time. I was incredibly hard on myself, and needlessly took away so much of the joy of creating. But then I read something that changed my mindset – an article in which the

business process was described with the words, “launch and learn.” It took a while for that to sink in but, when it did, it was a revelation. I began to realise that none of what I did had to be perfect the first time. Nobody has that gift of creating their best work in one take, not even the most amazing artists or the biggest rising-star designers. Instead, I’ve learned to give myself the room to work through a process of trying some-thing and then refining it… and then trying again and refining again, over and over. It means that nothing I make is ever final, everything is just the current iteration and may be subject to change in the future. Each creation is just a single step on this endless journey I’m taking, and I keep myself open to the next step, to the refinements I know will come. Thinking of creativity as this multistep process has been incredibly freeing.

Being creative has made me brave

Here’s the best bit about finding my creativity: when my thinking expands to consider all possibilities and then I see myself turning those possibilities into reality… when I open my mind to new solutions and then use those solutions in my business… when I create more and those juices start flowing… I am less afraid of what the future might hold because I know I will be able to find an answer to whatever comes my way. I know that I can figure it out – whatever it might be -- and that instead of instinctively pulling away, the solution is to step forward bravely and get started with the first step, knowing that all the other steps will fall into place in their own time. It’s a faith in my own abilities that I never had before. And of course there are days when I feel like I am juggling a million balls in the air at once and I get overwhelmed, but this new faith in myself is a courage that allows me to worry less about dropping one of those balls. I know that, like everything that has come before, I will figure it out.

So March 15th is a day is most certainly a day worth taking note of. The anniversary of another year in business is worth celebrating, for sure, but it’s actually so much more than that. It is another year of growth for me personally – of experimenting and improving, of creating and accepting. When I started SpaceCadet, I had no idea how much it would change me as person and my outlook on the world, but it has. These lessons in creativity and bravery have been worth all the effort.

Auntie Statusby Melissa Schoenwether

have at the candy display, as he was behind me and his mom was checking out in front of me. She called to him to come along and he brushed by me smiling and saying, “Excuse me, Auntie!”

I smiled.

And kept smiling after he left pushing the groceries with his mom. I smiled as I drove home. I continued to smile as I recounted the simple “Auntie moment” to my husband. He had already been called Unc and Uncle several times and had the same response as I. We felt welcomed. We felt Ohana. Just a wee little taste. And we loved it. It’s not enough to be called Auntie. You must call others Auntie and Uncle too. Every “older-than-me person” is given the title as a cour-tesy. I get the title bestowed by all those younger than me. It’s fun.And despite it’s simplicity it changes the way you look down into the faces of the youth and up into the faces of the elders.

The greatest treasure of Hawaii is the wisdom and gentle-ness of her Aunties. The women you see here are ambas-sadors of sorts, sharing aloha, a spirit of generosity, and a genuine love of Hawaiian culture.

In Hawaii, Ohana is everything.When you keep Ohana as the core, everyone really does become family. I found Ohana really is everything. Even if you aren’t family by blood, a hānai Ohana, or one that adopts you, grafts you you in like blood.

Days after our family landed on Oahu, we had a class in Hawaiian culture taught by a local Hawaiian. He ex-plained food, manners and mannerisms, words to use, and not to use, like slippers instead of flip-flops. He then explained the core of the culture, simply:

Ohana is everything and Auntie is king.

And Auntie and Uncle are not terms just for nieces and nephews. Every child and young adult addresses elders in that way, Being called Auntie softens your at-titude instantly -- you look to the one addressing you through the eyes of a loving family member, and you want to do your best to help or shepherd the younger person.

The first time I heard Auntie used towards me was a simple enough encounter. I have no idea who the little guy was, and I don’t remember ever seeing him again. There’s usually nothing magical about standing in line at Big Save, but on this day there was. A little 5- or 6-year-old boy must’ve lingered longer than he should

Yotch Yatsuoka has quite a love for nature.

Her garden is a thing of beauty, and also a testament to slow process. Each of the river stones she picked from her daily walk to the stream not far from her home.

One a day.

Every day.

She loves to share her quiet place with those looking for solace, those needing a moment to safely breathe. Auntie Yotch was eager to share beautiful vignettes with you, Dear Reader. She wanted to give you glimpses of her peaceful places in the hopes you would be inspired or comforted; perhaps even have a moment of quiet reflection.

Auntie Yotch shows Bonnie by Amy Kenagy in the original Spacecadet version, above, and the MadelineTosh substitute, inset

Shown above Bonnie by Amy Kenagy

Charlotte Carvalho was our neighbor on Kau-ai. My husband and I would bike to her home in the hope of catching her there just to chat. Auntie Charlotte was not “Auntie” solely to our kids, but to us as well. My husband loved being around Auntie Charlotte as she remind-ed him of his mother, whom he lost before he and I married.

Auntie Charlotte is discerning and thought-ful, her wisdom I have sought out time and time again. She also has quiet resolve, some-thing that once you see in another person, you look to build in yourself.

Diane Horita has a gentle laugh and a lively spirit. She has grandchildren of her own but volunteered alongside me teaching junior high students every Tuesday night. Every Tuesday. Three and a half hours. Without fail. Without complaint.

She would bring homemade food to share and talk to the kids as if they were her own family, believing everyone has value and needs to be cherished. There is a kindness that she shares through her quiet words and joyous smile.

And she can play the ukulele like you wouldn’t believe.

Shown Ahora by Franciose Danoy

Traditions Old and New by Amy Kenagy

The Green Bluff Spin-in, held just outside of Spokane, WA, reflects my local community, and for that reason alone, I make it a point to attend the event. Held in a run-down grange nestled among apple, peach, and cherry orchards, this biannual fiber event has become one of my favorites. The meet-up is small, even by local standards. There aren’t hundreds of vendors and booths to choose from. You are only going to find yarns and fibers here that are either raised, shorn, spun, or dyed by local artisans. And that’s what I love about it. Each skein of yarn or braid of fiber or blended batt tells the story and shows the hands of the people who created it. I like those stories. Maybe not even the ones told by words, but the ones told by colors, designs, and textures.

One of the booths that always calls my name at this event is owned and operated by Susan Schroeder of Shooting Star Yarns. Susan lives in rural northern Idaho with her goats and her family. Her use of color and sparkle in her hand-dyed and hand-blended batts, the quality of her beautifully dyed yarn, and her freshly shorn locks bearing awards from the fair are a treat to behold and to work with. Her booth matches her personality – bright, sparkly, and fun. She says, “My business reflects my love of color, texture, and animals. It gives me joy to go to work each day doing something I love!”

Another vendor and spinning guru, one who is also a frequent fixture at local farmers’ markets in our area, is Juaquetta Holcomb of Garden Party Fibers. As a spinner, I appreciate the work and effort that goes into even the simplest skeins of handspun yarn.

I know what it takes to sit and spin fluff into something useable, and I think that each skein reflects not only the fiber from which it was spun but even more so, the artist who spun it. Juaquetta makes the most gorgeous textured yarns I have ever seen. It is rustic by nature, yet full of color and irregular structure; I could gaze at her yarn for hours. Juaquetta recalled sitting in a demonstration booth at the State Fair many years ago, with her basket of mul-ticolored fiber scraps waiting to become yarn. As the skein emerged and one color after another unfolded, she had many onlookers wondering what would come next. It became an annual tradition to spin that skein of what she deemed “State Fair Yarn” as a reflection of the event. One of her oft-produced one-of-a-kind skeins, Anticipation Yarn, is aptly named as it almost asks the question – “what’s coming next?!” -- even as it nods to that long ago State Fair Yarn that was such a part of her fiber story.

I looked around the old grange and out of the windows to the fields beyond, and I wondered what stories the building itself had to tell. This building, at one point, was probably the central meeting point for men and women doing exactly what we were doing that day. I watched my friends spin on wheels and spindles -- owned and borrowed, old and new -- as I overheard conversations about knitting techniques learned from grandmothers, aunts, and sisters. This building, at one point, was probably the central meeting point for men and women

doing exactly what we were doing that day. I watched my friends spin on wheels and spindles -- owned and borrowed, old and new -- as I overheard conversations about knitting techniques learned from grandmothers, aunts, and sisters. I listened to a repeated story of a legacy for handicraft left to the young-er generations. But as I thought about what came before, it left me intrigued to find out, “What comes next?” I think this question is a beautiful part of our crafting adventures.

Knitting, crocheting, spinning, weaving, designing, felting and dyeing are methods by which the fiber arts community nods to the past and embraces new and exciting ideas. As we adventure into the wild unknown of our craft - individually and collectively - what will emerge for us? Blankets, accessories and garments, pulled from old trunks, that show-case our handiwork and patterns or techniques that are developed by our creativity become the building blocks for those crafters the future calls its own. To me, it seems that art is the embodiment of those moments where you look for a recognized reflection on the surface of the water and, catching a glimpse of the familiar, you see something even more beautiful emerging. As I looked around the grange and saw the joy of fiber filling the room, I knew, beyond a shadow of a doubt, that the creative legacy we will leave for future generations will be just as rich and beautiful as the crafting heritage that has inspired us.

Reflecting on Creative Spaces by Melody Hoffmann

My “studio” is the place where I spend most of my days: sitting at my desk answering emails, writing patterns, knitting on my couch. It is here where I brainstorm and develop new ideas in my treasured notebooks. This is also where I store my precious stash. But my studio also happens to be our living room!

When we very first moved in, the walls were covered with a faded wallpaper, the floors with dusty scarlet carpet, and the room was dominated by the largest piece of furniture that used to be found in most post-Soviet flats. “The Wall” as it is called, used to cover one complete side of the room from floor to ceiling. At the beginning, my “studio” was nothing I wanted. It lacked inspiration, and I saw in it only the things that I needed to fix.

It is very important for me to feel inspired by the space in which I work. Winters are very long here in Latvia, and the light is sparse. I try my very best to make the space as cosy and inspiring as possible so I can feel productive when I wake up in the mornings.

It didn’t happen in one day, but little by little, this space started to change to fit my needs. As I experimented with mixing old furniture pieces with new ones and bringing in natural elements like fresh flowers, plants, mineral stones, baskets, treasures from the woods and such, my special spot began to emerge.

The most recent addition to the studio is the kitchen cabinet! I had removed it from the kitchen a long time ago, and it spent the past year on the balcony. I brought it back inside to repurpose it, thinking it would be perfect to store my yarn for the shop, my books and notebooks, and other bits and bobs for my work.

Repurposing containers, furniture, and natural elements breathes excitement and joy into my small space. It also forces me to work harder to creatively problem solve by meeting the needs of my work with items I already have. That is an element of my creative space I try to encourage others to try!

Behind The Lens6 Bits Storybooks delights in taking you to new places. What brings us even greater joy is allowing different artists local to the area to be our tour guides. For Reflect, husband and wife team Matt and Shealynna Wellman capture the beauty of Kauai from the shore as well as below the surface of the ocean.

Matt is 26 years old, born and raised on the island of Kauai. He attended University of Hawaii and received a bache-lors degree in Nursing with the goal “to end up in the Emergency room”-- helping people, not being treated!

Shealynna is 23 years old and also born and raised on the island of Kauai. She attended Biola University and received a bachelors in Communication Sciences and Disorders in hopes to be a Speech Language Pathologist. Her goal is to work with children with intellectual and physical disabilities to help enhance their communication skills.

Married in November 2015, the two have just moved to Portland, Oregon at the end of May as Matt took a position at Legacy Good Samaritan Hospital. Capturing the beauty of their home for 6 Bits readers was a sweet opportunity they both enjoyed before having to move.

Matt and Shealynna have an interest and deep love for photography. Their portfolio includes Hawaiian style wed-dings, outdoor island life and incredible ocean still shots and videos.

Keep up with this talented couple by following their adventures on Instagram at @sheawellman

- .

-

Knitting is a legacy, a connecting thread between generations. As I was gathering together the articles for this issue, I was struck by the many ways those around us can shape our creativity. Perhaps you learned to knit hand in hand with an older, wiser relative. Perhaps a skein of yarn has stopped you in your tracks, as those colors would look just perfect on a loved one. I am blown away by the patterns our designers have created, inspired by some of their favorite people. With each stitch you make, you are adding to the body of our knitting tradition. Who knows, maybe a would-be knitter will find your long-forgotten shawl many years from now and will be curious enough to try to create something of their own! This fall I will be taking a big step of my own -- teaching my first knitting classes. In between magazine work, I have begun shaping the lessons and topics I will cover. I am eager to share all of my knitting knowledge, to guide a knitter through her first cables, to demystify charts and unlock the world of lace. My life has been so enriched by the beauty and relationships I have dis-covered through the fiber world, and it is my joy to help others find the same. As you reach the end of this issue, I encourage you to take a few moments to reflect on the important stops along your own fiber journey. Take some time to thank the person who taught you, or the person who helped you recover from that one epic knitting disaster (we all have one). And if that person, is no longer here to thank, just take a moment to hold them in your heart. Each stitch is a memory.

Warmly,Sarah