The Project Gutenberg eBook ofRake Knitting Patterns

The Project Gutenberg eBook ofRake Knitting PatternsThis ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.Title: Rake Knitting PatternsAuthor: Bertha ThompsonRelease date: May 5, 2019 [eBook #59440]Language: EnglishCredits: Produced by Susan Skinner, Tim Lindell and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive/American Libraries.)*** START OF THE PROJECT GUTENBERG EBOOK RAKE KNITTING PATTERNS ***

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Rake Knitting PatternsAuthor: Bertha ThompsonRelease date: May 5, 2019 [eBook #59440]Language: EnglishCredits: Produced by Susan Skinner, Tim Lindell and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive/American Libraries.)

Title: Rake Knitting Patterns

Author: Bertha Thompson

Release date: May 5, 2019 [eBook #59440]

Language: English

Credits: Produced by Susan Skinner, Tim Lindell and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive/American Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK RAKE KNITTING PATTERNS ***

RAKE KNITTING PATTERNSTwins wearing rake knitted sweaters made by a patient at Kenilworth Hospital, Biltmore, N. C.Rake Knitting PatternsBertha ThompsonOrganizer and Director of Occupational Therapy and Principalof the Summer School of Occupational Therapy,Woodstock, N. Y.BRUCE—MILWAUKEETHE BRUCE PUBLISHING COMPANYMILWAUKEE, WISCONSINCopyright 1923The Bruce Publishing CompanyPrinted in the United States of AmericaDedicated to the happinessof the sick and convalescent.

Twins wearing rake knitted sweaters made by a patient at Kenilworth Hospital, Biltmore, N. C.

Rake Knitting Patterns

Bertha Thompson

Organizer and Director of Occupational Therapy and Principalof the Summer School of Occupational Therapy,Woodstock, N. Y.

BRUCE—MILWAUKEE

THE BRUCE PUBLISHING COMPANYMILWAUKEE, WISCONSIN

Dedicated to the happinessof the sick and convalescent.

PREFACE.Who does not remember the spool-knitter of his childhood, perhaps a home made affair—a large empty spool with four wire brads driven in around the opening at one end—on which one made an endless rope of colored yarns, to use, maybe, for reins when playing horse. Our ex-service patients in the army and public health service hospitals have seized upon the principle of this toy, and have applied it in making “rakes” of various sizes on which they have “knitted” a large number of articles, from silk neckties to wool shawls, caps, sweaters and capes. They have found real interest and pleasure in this pastime. The patient flat on his back in a plaster cast, sometimes with the use of only one hand, has been able to make garments as attractive and well-made as the man who is up and about.The results of their experiments in “rake knitting” have been so very worth while, that I have wanted to make them available for the use of the sick and convalescent everywhere. Therefore I have prepared this pamphlet of patterns. It does not pretend to exhaust the possibilities of “rake knitting,” but merely offers a few patterns which have been used successfully in knitting with two and four-fold yarn.Special thanks are due the patients of Kenilworth Hospital, U. S. P. H. S., Biltmore, N. C., who worked out some of these patterns and allowed me to photograph some of their finished work.

Who does not remember the spool-knitter of his childhood, perhaps a home made affair—a large empty spool with four wire brads driven in around the opening at one end—on which one made an endless rope of colored yarns, to use, maybe, for reins when playing horse. Our ex-service patients in the army and public health service hospitals have seized upon the principle of this toy, and have applied it in making “rakes” of various sizes on which they have “knitted” a large number of articles, from silk neckties to wool shawls, caps, sweaters and capes. They have found real interest and pleasure in this pastime. The patient flat on his back in a plaster cast, sometimes with the use of only one hand, has been able to make garments as attractive and well-made as the man who is up and about.

The results of their experiments in “rake knitting” have been so very worth while, that I have wanted to make them available for the use of the sick and convalescent everywhere. Therefore I have prepared this pamphlet of patterns. It does not pretend to exhaust the possibilities of “rake knitting,” but merely offers a few patterns which have been used successfully in knitting with two and four-fold yarn.

Special thanks are due the patients of Kenilworth Hospital, U. S. P. H. S., Biltmore, N. C., who worked out some of these patterns and allowed me to photograph some of their finished work.

TABLE OF CONTENTS.PageChapter 1—Tools and Materials9-12Chapter 2—Winding a Long Rake13- 6Chapter 3—Winding Round Rakes17- 8Chapter 4—General Instructions19-211—How to Change from Single or Double Stitch to Triple Stitch.2—How to Change from Triple Stitch to Single or Double Stitch.3—How to Cast Off Stitches in Shaping Garments.4—How to Add Stitches in Shaping Garments.5—How to Cast Off Knitting from the Rake.6—How to Take Up the Loose Stitches at the Beginning of the Knitting.7—How to Sew Garments Together.8—How to Make Buttonholes.9—How to Determine the Quantity of Yarn Required for Any Pattern.10—How to Adapt the Patterns for Smaller or Larger Garments.11—How to Make Other Patterns.Chapter 5—To Make Shawls and Scarfs22- 4General Directions.Explanation of Diagrams of Borders.Narrow Scarfs and Mufflers.Chapter 6—Harmonious Combinations of Colors in Shawls25-43Color Arrangements Suggested for Eighteen Borders.Chapter 7—Bed Jacket44- 7Chapter 8—Boy’s Slipover Sweater48-51Chapter 9—Child’s Sweater Jacket52- 6Chapter 10—Men’s Sweaters57-641—Buttoned Down the Front, with Sleeves, Collar and Pockets.2—Slipover, with Sleeves, Collar and Pockets.3—Slipover, Sleeveless and without Collar.Chapter 11—Cap65- 6Chapter 12—Stocking Cap67- 9

PageChapter 1—Tools and Materials9-12Chapter 2—Winding a Long Rake13- 6Chapter 3—Winding Round Rakes17- 8Chapter 4—General Instructions19-211—How to Change from Single or Double Stitch to Triple Stitch.2—How to Change from Triple Stitch to Single or Double Stitch.3—How to Cast Off Stitches in Shaping Garments.4—How to Add Stitches in Shaping Garments.5—How to Cast Off Knitting from the Rake.6—How to Take Up the Loose Stitches at the Beginning of the Knitting.7—How to Sew Garments Together.8—How to Make Buttonholes.9—How to Determine the Quantity of Yarn Required for Any Pattern.10—How to Adapt the Patterns for Smaller or Larger Garments.11—How to Make Other Patterns.Chapter 5—To Make Shawls and Scarfs22- 4General Directions.Explanation of Diagrams of Borders.Narrow Scarfs and Mufflers.Chapter 6—Harmonious Combinations of Colors in Shawls25-43Color Arrangements Suggested for Eighteen Borders.Chapter 7—Bed Jacket44- 7Chapter 8—Boy’s Slipover Sweater48-51Chapter 9—Child’s Sweater Jacket52- 6Chapter 10—Men’s Sweaters57-641—Buttoned Down the Front, with Sleeves, Collar and Pockets.2—Slipover, with Sleeves, Collar and Pockets.3—Slipover, Sleeveless and without Collar.Chapter 11—Cap65- 6Chapter 12—Stocking Cap67- 9

Chapter 1.TOOLS AND MATERIALS.Tools.Rakes—See Figs.1,2,3and4.Picks—See Figs.5 and 6.Steel crochet hook No. 1.Darning needle long enough to take wool.Scissors.A few thumb tacks or brass headed carpet tacks.The rakes can be made by a carpenter, or by anyone who can use a hammer, saw and plane.STRAIGHT RAKES.Fig. 1.DIMENSIONS.Length—32″.Width—2⅝″.Thickness—¾″ to ⅞″.Opening down the center (black)27″ long.⅜″ wide.SETTING OF NAILS.RAKE No. 1Nails ½″ apart in rows ¾″ apart, set as in drawing.RAKE No. 2Nails ⅜″ apart in rows ¾″ apart.RAKE No. 3Nails ⅜″ apart in rows ⅝″ apart.RAKE No. 4Nails ⁵⁄₁₆″ apart in rows ¹⁰⁄₁₆″ apart.SHORT RAKES, with the same setting of nails are useful for knitting collars, pockets and belts.Fig. 2. Cap RakeOutside circle diameter = 6⅞″Inner circle diameter = 5¼″Shaded space cut out = ⅝″ wideRows of nails ⅝″ apartNails in outer row set ½″ apartNails in inner row set ⅜″ apartNails ½″ above surfaceFig. 3. Cap RakeSize 1.Outside dia. = 11¼″Inside dia. = 9¼″Nails set 1″ apartSize 2.Outside dia. = 13″Inside dia. = 11½″Fig. 4. Rakes.Yellow poplar or red gum makes a rake that is light to handle, and holds the nails securely.Select well-seasoned lumber, free from knots, about ¾ to ⅞ inch thick. Rakes made from thinner wood give in the middle and are not satisfactory.The opening within the rake can be cut out with a keyhole saw, or better still with a jig saw or a band saw, if such is available.The rakes must be well-planed and sandpapered, and no roughness left anywhere to catch the wool when knitting.The dimensions for the rakes are given in Figs.1,2 and 3.The long rakes (Fig. 1) are set with 1 inch finishing nails or with 1 inch, No. 16 wire brads. The nails must be set carefully as indicated in the drawing and project evenly ⅜ inch above the surface of the wood.The small double round rake (Fig. 2) is set with 1 inch finishing nails.The large round rake (Fig. 3) is set with 1½ inch No. 10 wire brads, or with wooden pegs whittled from ⅜ inch doweling, leaving a small head to prevent the yarn from slipping off too easily. The pegs should be securely glued into holes drilled just the right size to take them. Many patients prefer the wooden pegs in the round rakes. Such a rake was sold in some stores during the war and used for knitting hospital stockings to cover surgical dressings.Fig. 5—Nutpick. Fig. 6For apick, an ordinary nutpick, (Fig. 5) will serve very well, or one can be made from a 3 inch finishing nail, set in a wooden handle, bent and filed into shape as shown inFig. 6, and finished with emery cloth, and oil and pumice.Materials.Four-fold yarn or silky wool is used for most garments.Medium and heavy-weight sweater yarns may be used for men’s sweaters.Two-fold yarn and silky wool is used for light-weight garments.

Rakes—See Figs.1,2,3and4.

Picks—See Figs.5 and 6.

Steel crochet hook No. 1.

Darning needle long enough to take wool.

Scissors.

A few thumb tacks or brass headed carpet tacks.

The rakes can be made by a carpenter, or by anyone who can use a hammer, saw and plane.

Fig. 1.

DIMENSIONS.

Length—32″.Width—2⅝″.Thickness—¾″ to ⅞″.Opening down the center (black)27″ long.⅜″ wide.

SETTING OF NAILS.

RAKE No. 1Nails ½″ apart in rows ¾″ apart, set as in drawing.

RAKE No. 2Nails ⅜″ apart in rows ¾″ apart.

RAKE No. 3Nails ⅜″ apart in rows ⅝″ apart.

RAKE No. 4Nails ⁵⁄₁₆″ apart in rows ¹⁰⁄₁₆″ apart.

SHORT RAKES, with the same setting of nails are useful for knitting collars, pockets and belts.

Fig. 2. Cap RakeOutside circle diameter = 6⅞″Inner circle diameter = 5¼″Shaded space cut out = ⅝″ wideRows of nails ⅝″ apartNails in outer row set ½″ apartNails in inner row set ⅜″ apartNails ½″ above surfaceFig. 3. Cap RakeSize 1.Outside dia. = 11¼″Inside dia. = 9¼″Nails set 1″ apartSize 2.Outside dia. = 13″Inside dia. = 11½″

Fig. 2. Cap Rake

Fig. 3. Cap RakeSize 1.Outside dia. = 11¼″Inside dia. = 9¼″Nails set 1″ apartSize 2.Outside dia. = 13″Inside dia. = 11½″

Fig. 3. Cap Rake

Size 1.

Size 2.

Fig. 4. Rakes.

Yellow poplar or red gum makes a rake that is light to handle, and holds the nails securely.

Select well-seasoned lumber, free from knots, about ¾ to ⅞ inch thick. Rakes made from thinner wood give in the middle and are not satisfactory.

The opening within the rake can be cut out with a keyhole saw, or better still with a jig saw or a band saw, if such is available.

The rakes must be well-planed and sandpapered, and no roughness left anywhere to catch the wool when knitting.

The dimensions for the rakes are given in Figs.1,2 and 3.

The long rakes (Fig. 1) are set with 1 inch finishing nails or with 1 inch, No. 16 wire brads. The nails must be set carefully as indicated in the drawing and project evenly ⅜ inch above the surface of the wood.

The small double round rake (Fig. 2) is set with 1 inch finishing nails.

The large round rake (Fig. 3) is set with 1½ inch No. 10 wire brads, or with wooden pegs whittled from ⅜ inch doweling, leaving a small head to prevent the yarn from slipping off too easily. The pegs should be securely glued into holes drilled just the right size to take them. Many patients prefer the wooden pegs in the round rakes. Such a rake was sold in some stores during the war and used for knitting hospital stockings to cover surgical dressings.

Fig. 5—Nutpick. Fig. 6

For apick, an ordinary nutpick, (Fig. 5) will serve very well, or one can be made from a 3 inch finishing nail, set in a wooden handle, bent and filed into shape as shown inFig. 6, and finished with emery cloth, and oil and pumice.

Four-fold yarn or silky wool is used for most garments.

Medium and heavy-weight sweater yarns may be used for men’s sweaters.

Two-fold yarn and silky wool is used for light-weight garments.

Chapter 2.WINDING A LONG RAKE.Three different stitches are commonly used in rake knitting.1. Single or plain stitch—Fig. 7.2. Double or cross-stitch—Fig. 8.3. Triple cross-stitch—Fig. 9.To Cast Stitches on a Long Rake.Take the long rake, shown inFig. 1, with nails set ½ inch apart, in rows ¾ inch apart.Drive a thumb tack or a carpet tack into the side of the rake near each end until the head is just a little above the surface of the wood. This is to hold the yarn after winding.Fig. 10. First Winding.First Winding.The same for all stitches.1. Tie yarn to nail A, leaving an end 3 or 4 inches long which is slipped through the opening of the rake. Let the rake rest in the left hand. With the right hand wind the yarn around the nails as shown in the diagram. Do not pull the yarn too tight; just hold it easily between thumb and finger. When the last nail (B) is reached, wrap the yarn once around the tack to hold it.2. Draw the smooth flat side of the pick rapidly down the length of the rake between the rows of nails. This pushes the yarn to the bottom of the nails, and leaves space above for the second winding of yarn.Fig. 7. Single or Plain Stitch.Fig. 8. Double or Cross Stitch.Fig. 9. Triple Cross Stitch.Fig. 11. Second Winding.Second Winding.In single or plain stitch, (Fig. 7) do not cross the yarn.1. The first winding ended at B with the last cross at C.2. Wind the yarn around D and E without crossing it, and so on back to the end of the rake where the first winding began. Wrap the yarn around the tack.3. The yarn has passed twice in front of each nail with the exception of nail B.[1]4. With the pick lift the lower thread (first winding) over the upper thread, (second winding) and off the nail. Do not stretch the yarn more than just enough to lift it over the head of the nail. Do this at each nail along one side, then along the other, leaving out the nail B which has just one thread. This completes the first row of stitches.5. Draw the smooth flat side of the pick rapidly down the length of the rake between the rows of nails to push down the yarn, and make room for the next winding.Second Winding—Continued.In double or cross-stitch. (Fig. 8)1. The second winding is the same as the first winding; that is, the yarn is crossed.2. With the pick lift the lower thread over the upper thread as in single or plain stitch. This completes the first row of stitches.3. Draw the smooth flat side of the pick along between the rows of nails to make space for the next winding.Triple cross-stitch. (Fig. 9)1. Wind once over and back as if for double or cross-stitch.2. Wind the yarn a third time across the rake, crossing it as in the first and second winding.3. Three threads now pass in front of each nail except A and B. Lift the lower thread (first winding) over the upper two threads and off the nail. Do this at all the nails except A and B. This completes the first row of stitches.4. Push threads to the bottom of the nails by drawing the smooth flat side of the pick rapidly along between the rows of nails.[2]To make the second row of stitches, wind once across the rake, and lift the lower thread off as described above. Push threads to the bottom of the nails, and wind back over the rake for the third row of stitches, and so on.

Three different stitches are commonly used in rake knitting.

Take the long rake, shown inFig. 1, with nails set ½ inch apart, in rows ¾ inch apart.

Drive a thumb tack or a carpet tack into the side of the rake near each end until the head is just a little above the surface of the wood. This is to hold the yarn after winding.

Fig. 10. First Winding.

The same for all stitches.

1. Tie yarn to nail A, leaving an end 3 or 4 inches long which is slipped through the opening of the rake. Let the rake rest in the left hand. With the right hand wind the yarn around the nails as shown in the diagram. Do not pull the yarn too tight; just hold it easily between thumb and finger. When the last nail (B) is reached, wrap the yarn once around the tack to hold it.

2. Draw the smooth flat side of the pick rapidly down the length of the rake between the rows of nails. This pushes the yarn to the bottom of the nails, and leaves space above for the second winding of yarn.

Fig. 7. Single or Plain Stitch.Fig. 8. Double or Cross Stitch.Fig. 9. Triple Cross Stitch.

Fig. 7. Single or Plain Stitch.

Fig. 8. Double or Cross Stitch.

Fig. 9. Triple Cross Stitch.

Fig. 11. Second Winding.

In single or plain stitch, (Fig. 7) do not cross the yarn.

1. The first winding ended at B with the last cross at C.

2. Wind the yarn around D and E without crossing it, and so on back to the end of the rake where the first winding began. Wrap the yarn around the tack.

3. The yarn has passed twice in front of each nail with the exception of nail B.[1]

4. With the pick lift the lower thread (first winding) over the upper thread, (second winding) and off the nail. Do not stretch the yarn more than just enough to lift it over the head of the nail. Do this at each nail along one side, then along the other, leaving out the nail B which has just one thread. This completes the first row of stitches.

5. Draw the smooth flat side of the pick rapidly down the length of the rake between the rows of nails to push down the yarn, and make room for the next winding.

In double or cross-stitch. (Fig. 8)

1. The second winding is the same as the first winding; that is, the yarn is crossed.

2. With the pick lift the lower thread over the upper thread as in single or plain stitch. This completes the first row of stitches.

3. Draw the smooth flat side of the pick along between the rows of nails to make space for the next winding.

Triple cross-stitch. (Fig. 9)

1. Wind once over and back as if for double or cross-stitch.

2. Wind the yarn a third time across the rake, crossing it as in the first and second winding.

3. Three threads now pass in front of each nail except A and B. Lift the lower thread (first winding) over the upper two threads and off the nail. Do this at all the nails except A and B. This completes the first row of stitches.

4. Push threads to the bottom of the nails by drawing the smooth flat side of the pick rapidly along between the rows of nails.[2]

To make the second row of stitches, wind once across the rake, and lift the lower thread off as described above. Push threads to the bottom of the nails, and wind back over the rake for the third row of stitches, and so on.

Chapter 3.WINDING ROUND RAKES.The round cap rakes illustrated inFigs. 2 and 3are wound according to the following directions:Round Cap Rake (Fig. 2.)Stitches are cast on this round rake in the same way as on the long rake described inChapter 2, except that the winding continues around the rake.Single or double stitch may be used.1. Tie the yarn to one of the nails.2. Wind once around the rake as directed inChapter 2for the first winding, until the nail to which the yarn is tied is reached again.3. Continue winding until this nail is reached a second time, that is, until two threads pass in front of each nail.4. Wrap yarn around a thumb tack in the side of the rake.5. Lift the lower thread (first winding) over the upper thread (second winding) and off the nails. When only one thread remains around each nail, run the smooth flat side of the pick around between the rows of nails to push down the threads, and make room for the next winding.6. Continue by winding once around the rake; that is, until two threads again pass in front of each nail. Lift the lower thread over the upper thread and off the nails to complete the row of stitches.Fig. 12.Round Cap Rake (Fig. 3.)To knit a cap on this rake the single stitch is used, as a rule.1. To cast on stitches, tie yarn to a nail, (Fig. 12), and wind to the left, until nail A is reached again.2. Then, holding the yarn in the left hand, pass it along in front of nail A, and above the first winding, and lift the lower thread on the nail over the upper and off the nail.3. Move the rake around a little until the yarn held in the left hand passes in front of nail B. Be sure it is above the thread already on the nail. Lift lower thread over the upper thread and off the nail.4. Continue in this way around and around the rake until the knitting of the cap is complete. The pattern for a cap is described inChapter 12.

The round cap rakes illustrated inFigs. 2 and 3are wound according to the following directions:

Stitches are cast on this round rake in the same way as on the long rake described inChapter 2, except that the winding continues around the rake.

Single or double stitch may be used.

1. Tie the yarn to one of the nails.

2. Wind once around the rake as directed inChapter 2for the first winding, until the nail to which the yarn is tied is reached again.

3. Continue winding until this nail is reached a second time, that is, until two threads pass in front of each nail.

4. Wrap yarn around a thumb tack in the side of the rake.

5. Lift the lower thread (first winding) over the upper thread (second winding) and off the nails. When only one thread remains around each nail, run the smooth flat side of the pick around between the rows of nails to push down the threads, and make room for the next winding.

6. Continue by winding once around the rake; that is, until two threads again pass in front of each nail. Lift the lower thread over the upper thread and off the nails to complete the row of stitches.

Fig. 12.

To knit a cap on this rake the single stitch is used, as a rule.

1. To cast on stitches, tie yarn to a nail, (Fig. 12), and wind to the left, until nail A is reached again.

2. Then, holding the yarn in the left hand, pass it along in front of nail A, and above the first winding, and lift the lower thread on the nail over the upper and off the nail.

3. Move the rake around a little until the yarn held in the left hand passes in front of nail B. Be sure it is above the thread already on the nail. Lift lower thread over the upper thread and off the nail.

4. Continue in this way around and around the rake until the knitting of the cap is complete. The pattern for a cap is described inChapter 12.

Chapter 4.GENERAL INSTRUCTIONS.1. How to Change from Single or Double Stitch to Triple Stitch.Wind across the rake and back, crossing the yarn. There are now three threads on the nails. Lift the lowest thread over the upper two threads and off the nails.2. How to Change from Triple Stitch to Single or Double Stitch.Lift the lower two threads together over the upper thread and off the nails.3. How to Cast Off Stitches in Shaping Garments.Lift the stitch from one nail onto the next in the other row.Lift the stitch already on this nail over the new one, and off the nail.4. How to Add Stitches in Shaping Garments.Wind one or more of the empty nails according to directions, when the end of the row of stitches is reached. Wind back across the rake and knit these new stitches in the same way as the others.5. How to Cast Off Knitting from the Rake.There are two ways to do this.1. Leave a length of yarn, when cutting off the ball, long enough to knit once across the rake.Beginning at the opposite end of the rake, with a large knitting needle lift a stitch first from one row of nails and then from the other until all the stitches are on the needle.Then cast off as in ordinary knitting. (See directions in any book on knitting.)2. Another way is to take off the stitch from the first nail with a crochet hook, then the stitch from the first nail in the other row, and draw this one through the stitch already on the hook. Then take off the next and draw it through the stitch on the hook, and so on until all the stitches have been crocheted from the rake.[3]It will be found that sometimes, with certain yarns, this makes a very tight edge. In this case it is better to use the length of yarn left hanging, and having lifted off two stitches, instead of drawingthe second through the first, draw a loop of the yarn through both, leaving this loop on the hook. (This is called a slip stitch.) Take off the next stitch and repeat. Continue until all the stitches have been crocheted from the rake.6. How to Take Up the Loose Stitches at the Beginning of the Knitting.Examine a piece of knitting that has just been cast off the rake.It will be observed that the last row is much tighter than the first.To take up these loose stitches at the beginning, crochet once across, using the slip stitch described in paragraph 2 ofsection 5of this chapter.7. How to Sew Garments Together.Use one strand of yarn and a short darning or tapestry needle. Match the stitches, take up one thread on each side, and do not draw the yarn too tightly.8. How to Make Buttonholes.Cast stitches off two to six nails, depending on the size of the buttonhole to be made, beginning at the sixth nail from the edge. Add these nails again in the very next row of knitting.Crochet around the buttonholes with a single stitch or finish with a buttonhole stitch, using one strand of yarn.Loops may be made instead of buttonholes by crocheting along the edge to be fastened, leaving loops of chain-stitch long enough to go over the button.9. How to Determine the Quantity of Yarn Required for Any Pattern.Some yarns work up more quickly than others, and some stretch more.This difference in yarns makes it impossible to give exact quantities required for any pattern which would apply to all brands of yarn, or to give the exact number of nails that must be used to knit a given width.Therefore the size of the finished garment is indicated instead. Where a quantity is given, it is only approximately estimated from the kinds of yarn I have used.Select a good brand of yarn, and find out by experiment how far one ounce will go. Choose the rake you are going to use. Knit a piece 6 or 12 inches wide. Make a note of the number of nails ittakes. With this as a guide it will not be difficult to estimate the amount of yarn needed for any of the patterns in this pamphlet. It is always better to get a little too much than not to have enough. It is often difficult to match a yarn, particularly at local stores.10. How to Adapt the Patterns for Smaller or Larger Garments.The measurements are given on each pattern. It will readily be seen that these can be changed to make the garment smaller or larger.Having made the experiment suggested insection 9, and having found out how many nails it takes to knit a piece 6 or 12 inches wide, with a given kind of yarn, it will not be difficult to find out how many nails to use in knitting the size garment desired.11. How to Make Other Patterns.Almost any simple, straight-line garment can be knitted on a rake.Make an outline drawing of the garment as it will look before the seams are sewed together.Decide upon the measurements, length, width, etc.Having made the experiment suggested insection 9, it will not be difficult to work out the new pattern.

Wind across the rake and back, crossing the yarn. There are now three threads on the nails. Lift the lowest thread over the upper two threads and off the nails.

Lift the lower two threads together over the upper thread and off the nails.

Lift the stitch from one nail onto the next in the other row.

Lift the stitch already on this nail over the new one, and off the nail.

Wind one or more of the empty nails according to directions, when the end of the row of stitches is reached. Wind back across the rake and knit these new stitches in the same way as the others.

There are two ways to do this.

1. Leave a length of yarn, when cutting off the ball, long enough to knit once across the rake.

Beginning at the opposite end of the rake, with a large knitting needle lift a stitch first from one row of nails and then from the other until all the stitches are on the needle.

Then cast off as in ordinary knitting. (See directions in any book on knitting.)

2. Another way is to take off the stitch from the first nail with a crochet hook, then the stitch from the first nail in the other row, and draw this one through the stitch already on the hook. Then take off the next and draw it through the stitch on the hook, and so on until all the stitches have been crocheted from the rake.[3]

It will be found that sometimes, with certain yarns, this makes a very tight edge. In this case it is better to use the length of yarn left hanging, and having lifted off two stitches, instead of drawingthe second through the first, draw a loop of the yarn through both, leaving this loop on the hook. (This is called a slip stitch.) Take off the next stitch and repeat. Continue until all the stitches have been crocheted from the rake.

Examine a piece of knitting that has just been cast off the rake.

It will be observed that the last row is much tighter than the first.

To take up these loose stitches at the beginning, crochet once across, using the slip stitch described in paragraph 2 ofsection 5of this chapter.

Use one strand of yarn and a short darning or tapestry needle. Match the stitches, take up one thread on each side, and do not draw the yarn too tightly.

Cast stitches off two to six nails, depending on the size of the buttonhole to be made, beginning at the sixth nail from the edge. Add these nails again in the very next row of knitting.

Crochet around the buttonholes with a single stitch or finish with a buttonhole stitch, using one strand of yarn.

Loops may be made instead of buttonholes by crocheting along the edge to be fastened, leaving loops of chain-stitch long enough to go over the button.

Some yarns work up more quickly than others, and some stretch more.

This difference in yarns makes it impossible to give exact quantities required for any pattern which would apply to all brands of yarn, or to give the exact number of nails that must be used to knit a given width.

Therefore the size of the finished garment is indicated instead. Where a quantity is given, it is only approximately estimated from the kinds of yarn I have used.

Select a good brand of yarn, and find out by experiment how far one ounce will go. Choose the rake you are going to use. Knit a piece 6 or 12 inches wide. Make a note of the number of nails ittakes. With this as a guide it will not be difficult to estimate the amount of yarn needed for any of the patterns in this pamphlet. It is always better to get a little too much than not to have enough. It is often difficult to match a yarn, particularly at local stores.

The measurements are given on each pattern. It will readily be seen that these can be changed to make the garment smaller or larger.

Having made the experiment suggested insection 9, and having found out how many nails it takes to knit a piece 6 or 12 inches wide, with a given kind of yarn, it will not be difficult to find out how many nails to use in knitting the size garment desired.

Almost any simple, straight-line garment can be knitted on a rake.

Make an outline drawing of the garment as it will look before the seams are sewed together.

Decide upon the measurements, length, width, etc.

Having made the experiment suggested insection 9, it will not be difficult to work out the new pattern.

Chapter 5.TO MAKE SHAWLS AND SCARFS.GENERAL DIRECTIONS.1. Rakes used for knitting shawls and scarfs.For four-fold yarn and silky wool use rakes No. 1 or No. 2 shown inFig. 1.For two-fold yarn or silky wool use rakes No. 2 or No. 3.2. Single or double stitch is used in knitting shawls. (SeeChapter 2.)Fig. 13.3. Quantity of yarn required. (Readsection 9of Chapter 4.)Four-fold yarn, 16 to 18 ounces, for the body of the shawl (ground color). Six ounces for an average width border.Four-fold silky wool, 14 to 16 ounces for the ground color. Four to 5 ounces for the border.Two-fold yarn or silky wool, about 7 to 8 ounces for the ground color. Two to 3 ounces for the border.Fig. 14.4. Average length of shawl, 60 to 72 inches when finished.5. To join yarns of different color. Tie a square knot between nails B and C,Fig. 13, and cut the ends off close to the knot.Fig. 15. Cap and Scarf.6. To make a good edge to which the fringe can be knotted, crochet once across the end of the shawl, using the slip stitch described insection 5of Chapter 4.7. Do not make the fringe too heavy. Double two or three lengths of yarn and knot into the shawl at the bottom of each rib. These may be left hanging or may be knotted in various ways. (SeeFig. 14.)Explanation of Diagrams of Borders.Figs.16to33show some borders for shawls which may be worked out in one or more colors.The number of rows of knitting required for each stripe are given.To find out how long to make the center of the shawl, measure the distance from the beginning of the knitting to the edge of the last stripe in the border. Allow the same for the border on the other end, and subtract the number of inches required for both from the entire length of the shawl.Narrow Scarfs and Mufflers.Almost any of the designs for borders can easily be adapted for use in narrow scarfs or mufflers.The scarf shown inFig. 15is 60 inches long and 10 inches wide. It took 6 ounces of silky wool for the ground color and 1¼ ounces for the border.

1. Rakes used for knitting shawls and scarfs.

For four-fold yarn and silky wool use rakes No. 1 or No. 2 shown inFig. 1.

For two-fold yarn or silky wool use rakes No. 2 or No. 3.

2. Single or double stitch is used in knitting shawls. (SeeChapter 2.)

Fig. 13.

3. Quantity of yarn required. (Readsection 9of Chapter 4.)

Four-fold yarn, 16 to 18 ounces, for the body of the shawl (ground color). Six ounces for an average width border.

Four-fold silky wool, 14 to 16 ounces for the ground color. Four to 5 ounces for the border.

Two-fold yarn or silky wool, about 7 to 8 ounces for the ground color. Two to 3 ounces for the border.

Fig. 14.

4. Average length of shawl, 60 to 72 inches when finished.

5. To join yarns of different color. Tie a square knot between nails B and C,Fig. 13, and cut the ends off close to the knot.

Fig. 15. Cap and Scarf.

6. To make a good edge to which the fringe can be knotted, crochet once across the end of the shawl, using the slip stitch described insection 5of Chapter 4.

7. Do not make the fringe too heavy. Double two or three lengths of yarn and knot into the shawl at the bottom of each rib. These may be left hanging or may be knotted in various ways. (SeeFig. 14.)

Figs.16to33show some borders for shawls which may be worked out in one or more colors.

The number of rows of knitting required for each stripe are given.

To find out how long to make the center of the shawl, measure the distance from the beginning of the knitting to the edge of the last stripe in the border. Allow the same for the border on the other end, and subtract the number of inches required for both from the entire length of the shawl.

Almost any of the designs for borders can easily be adapted for use in narrow scarfs or mufflers.

The scarf shown inFig. 15is 60 inches long and 10 inches wide. It took 6 ounces of silky wool for the ground color and 1¼ ounces for the border.

Chapter 6.HARMONIOUS COMBINATIONS OF COLORS IN SHAWLS.In planning the colors to be used in a shawl or scarf, the Standard Color Card of America will be found very helpful. This may be obtained from the Textile Color Card Association of the United States, Inc., 315 Fourth avenue, New York. The card contains 133 standard colors, and is being very widely used in every branch of industry interested in color. The manufacturers of knitting yarns have based their standard colors on this card, which is so well-known among dealers throughout the country that it is possible to order a color by its name and number, stating that these have been taken from the standard color card. The Textile Color Card Association is very glad to give full information concerning the color card and its use.Some of the color arrangements in the following pages have been taken from this color card.Where the standard trade name for a color is not commonly known, I have given the more usual descriptive name.The colors are lettered to correspond to the letters used in the diagrams, the main color of the shawl being called the ground color.Where strongly contrasted colors are used, a narrow line of black (one or two rows of knitting) between the colors will help to harmonize them.The following suggested color combinations are only a few of the many good combinations of colors which may be used.Fig. 16.Border 1 (Fig. 16.)Blue ground.1. Medium green-blue ground.A—A cool shade of tan (buff).B—Old rose.2. Japan-blue ground.A—Black.B—Garnet.Purple ground.1. Dark red-purple ground (amethyst).A—Black or dark yellow-green.B—Orange.2. Dark red-purple ground (amethyst).A—Light amethyst (orchid) or black.B—Medium turquoise-blue.Brown ground.1. Chestnut-brown ground.A—Apricot.B—Deep turquoise-blue.2. Dark brown ground.A—Topaz.B—Tan.Green ground.1. Medium yellow-green ground.A—Deep cream.B—Salmon.2. Yellow-green ground.A—Black.B—Burnt-orange.Gray ground.1. Pearl-gray ground.A—Lavender.B—Coral.Pink ground.1. Laurel-pink ground.A—Light yellow-green.B—Coral.Fig. 17.Border 2 (Fig. 17.)Blue ground.1. Turquoise-blue ground.A—Blue-lavender (cornflower).B—Pale-yellow.2. Copenhagen-blue ground.A—Old rose.B—A cool shade of tan (buff) or the same as the ground.Green ground.1. Light yellow-green ground.A—Wild-rose.B—Light yellow.2. Dark yellow-green ground.A—Yellow tan (chamois).B—Light yellow-green or the same as the ground.Brown ground.1. Chestnut-brown ground.A—Yellow-green.B—Tan.Gray ground.1. Silver-gray ground.A—Peacock blue.B—Cherry.2. Pearl-gray ground.A—Lavender.B—Pink or coral.Purple ground.1. Amethyst ground—dark.A—Light amethyst (orchid).B—Pearl-gray.Fig. 18.Border 3 (Fig. 18.)Blue ground.1. Peacock-blue ground.A—Black.B—Burnt-orange.2. Sapphire-blue ground.A—Fawn.B—Orange or a lighter shade of ground.Green ground.1. Dark yellow-green ground.A—Black.B—Burnt-orange.2. Dark yellow-green ground.A—Light yellow-green.B—Black.Tan ground.1. Tan ground.A—Dark brown.B—Topaz.Brown ground.1. Seal-brown ground.A—Green-blue.B—Champagne.2. Chestnut-brown ground.A—Tan.B—Gold brown or burnt-orange.Purple ground.1. Red-purple ground (heliotrope).A—Silver-gray.B—Lavender.Coral ground.1. Coral ground.A—Silver-gray.B—Pink.Fig. 19.Border 4 (Fig. 19.)Green ground.1. Hunter-green ground.A—Orange.B—Black.2. Medium yellow-green ground.A—Deep cream.B—Burnt-orange or salmon.Nile-green ground.A—Light amethyst (orchid).B—Corn-color (maize).Blue ground.1. Green-blue ground.A—Terra-cotta or henna.B—Black.2. Light green-blue ground.A—Ocean-green.B—Lavender.3. Delft-blue ground.A—Old rose.B—Silver-gray.Scarlet ground.1. Scarlet ground.A—Black.B—Emerald-green.Pink or old rose ground.1. Salmon-pink or old rose ground.A—Amethyst.B—Silver or pearl-gray.2. Tearose-pink ground.A—Cream.B—Coral.Light or dark purple ground.1. Lilac ground.A—Wistaria.B—Pearl-gray.2. Dark amethyst ground.A—Light amethyst (orchid).B—Silver-gray.Brown ground.1. Brown ground.A—Topaz or burnt-orange.B—Tan.Fig. 20.Border 5 (Fig. 20.)Cream ground.1. Cream ground.A—Black.B—Gold.2. Corn-color ground.A—Nile green.B—Light amethyst (orchid).Burnt-orange ground.1. Burnt-orange ground.A—Seal brown.B—Turquoise-blue or gold.Black ground.1. Black ground.A—Burnt-orange.B—Peacock-blue.2. Black ground.A—Pearl-gray.B—Amethyst.Green ground.1. Dark yellow-green ground.A—Light yellow-green.B—Orange.2. Dark yellow-green ground.A—Brown or black.B—Burnt-orange.Light or dark purple ground.1. Dark purple ground.A—Light purple (orchid).B—Silver-gray.2. Light amethyst ground.A—Dark amethyst.B—Silver-gray.Gray ground.1. Silver-gray ground.A—Lavender.B—Old rose or pink.2. Pearl-gray ground.A—Medium green-blue.B—Light green-blue.Fig. 21.Border 6 (Fig. 21.)Pink or old rose ground.1. Strawberry ground.A—Black.B—Peacock-blue.C—Gold.2. Old rose ground.A—Copenhagen-blue.B—Pearl-gray.C—Pink.Blue ground.1. Dark green-blue (sapphire) ground.A—Black.B—Burnt-orange.C—Henna.orA—Burnt-orange.B—Black.C—Henna.2. Green-blue ground.A—Black.B—Amethyst.C—Old rose.Green ground.1. Yellow-green ground.A—Amethyst.B—Black.C—Apricot.2. Nile-green ground.A—Light amethyst.B—Black.C—Corn-color.3. Yellow-green ground.A—Amethyst.B—Burnt-orange.C—Deep yellow tan (chamois).Purple ground.1. Amethyst ground—dark.A—Light amethyst (orchid).B—Pearl-gray.C—Pink.2. Purple ground.A—Pearl-gray or champagne.B—Black.C—Light amethyst.Brown ground.1. Chestnut-brown ground.A—Tan.B—Golden-brown or burnt-orange.C—Topaz.2. Seal-brown ground.A—Green-blue.B—Black.C—Champagne.Tan ground.1. Champagne ground.A—Light green.B—Black.C—Turquoise-blue or burnt-orange.2. Buff ground.A—Seal-brown.B—Yellow-green.C—Orange.Gray ground.1. Pearl-gray ground.A—Dark amethyst.B—Black or cream.C—Light amethyst.2. Silver-gray ground.A—Lavender.B—Amethyst.C—Pink.Fig. 22.Border 7 (Fig. 22.)Blue ground.1. Peacock ground.A—Black.B—Burnt-orange.2. Green-blue ground.A—Black.B—Henna or corn-color.3. Green-blue ground.A—Light yellow-green.B—Light green-blue.Purple ground.1. Dark amethyst ground.A—Light amethyst.B—Silver-gray.Gray ground.1. Silver or pearl-gray ground.A—Amethyst.B—Orchid.Green ground.1. Emerald-green ground.A—Black.B—Scarlet (orange-red).2. Dark-green ground.A—Light green.B—Corn-color.Fig. 23Border 8 (Fig. 23.)Cream ground.1. Deep cream ground or corn-color.A—Black.B—Salmon or burnt-orange or lavender.2. Deep yellow-cream ground (chamois).A—Seal-brown.B—Gold.3. Apricot ground.A—Terra-cotta or henna.B—Orange.4. Deep cream ground.A—Light amethyst.B—Pink.Salmon ground.1. Salmon ground.A—Terra-cotta.B—Yellow.Green ground.1. Yellow-green ground.A—Black.B—Burnt-orange or gold.2. Dark yellow-green ground.A—Light yellow-green.B—Cream.Coral or strawberry ground.1. Coral ground.A—Light yellow-green or black.B—Laurel pink.2. Strawberry ground.A—Black.B—Gold or peacock-blue.Brown ground.1. Seal-brown ground.A—Topaz or burnt-orange.B—Tan or deep cream.Fig. 24.Border 9 (Fig. 24.)Brown ground.1. Chestnut-brown ground.A—Olive-green.B—Golden-brown.C—Tan.2. Seal-brown ground.A—Burnt-orange.B—Medium green-blue.C—Champagne.Tan ground.1. Tan ground.A—Peacock-blue.B—Black.C—Burnt-orange or cherry.2. Fawn ground.A—Seal-brown.B—Moss-green.C—Gold.Green ground.1. Dark yellow-green ground.A—Medium green-blue.B—Light yellow-green.C—Cream or a yellow-tan (chamois).2. Nile-green ground.A—Light amethyst (orchid).B—Pink.C—Yellow.Blue ground.1. Turquoise-blue ground.A—Strawberry.B—Black.C—Orange.2. Deep green-blue ground (sapphire).A—Fawn.B—Light amethyst (orchid).C—Orange.Fig. 25.Border 10 (Fig. 25.)Blue ground.1. Deep green-blue ground.A—Black.B—Henna.2. Peacock-blue ground.A—Black.B—Burnt-orange or cherry.Mahogany or terra-cotta ground.1. Mahogany ground or terra-cotta.A—Burnt-orange.B—Cream.2. Terra-cotta ground.A—Deep turquoise-blue.B—Burnt-orange.Green ground.1. Gray-green ground.A—Black.B—Orange or gold.2. Bronze-green ground.A—Gold.B—Deep yellow-tan (chamois).3. Nile-green ground.A—Lavender.B—Pale yellow.Tan ground.1. Champagne ground.A—Seal-brown.B—Topaz or burnt-orange.2. Tan.A—Black.B—Strawberry or heliotrope.Purple ground.1. Amethyst ground—dark.A—Silver-gray.B—Light amethyst or pink.Fig. 26.Border 11 (Fig. 26.)Gray ground.1. Silver-gray ground.A—Dark amethyst—fringe the same.B—Light amethyst (orchid).C—Pink or light green-blue or Nile-green.2. Pearl-gray ground.A—Sapphire-blue—fringe the same.B—Coral.C—Light yellow-green.Tan ground.1. Tan ground.A—Chestnut—fringe the same.B—Topaz.C—Golden-brown.2. Champagne ground.A—Seal-brown—fringe the same.B—Burnt-orange.C—Deep green-blue (electric).Cream ground.1. Deep cream ground.A—Black—fringe the same.B—Burnt-orange.C—Peacock-blue.2. Corn color ground.A—Dark amethyst or wistaria—fringe the same.B—Light amethyst.C—Nile-green.3. Deep cream ground.A—Old rose or coral—fringe the same.B—Tearose-pink.C—Yellow.Blue ground.1. Light green-blue ground.A—Dark green-blue—fringe the same.B—Amethyst.C—Orange.Green ground.1. Light yellow-green ground.A—Dark yellow-green—fringe the same.B—Deep yellow-tan (chamois).C—Orange.Fig. 27.Border 12 (Fig. 27.)Pink or old rose ground.1. Old rose ground.A—Amethyst—fringe the same.B—Black.C—Pink.2. Salmon-pink ground.A—Old rose—fringe the same.B—Pearl-gray.C—Copenhagen-blue.3. Strawberry ground.A—Black—fringe the same.B—Peacock-blue.C—Gold.Blue ground.1. Deep green-blue ground.A—Black—fringe the same.B—Henna.C—Burnt-orange.2. Turquoise-blue ground.A—Amethyst—fringe the same.B—Black.C—Orange.3. Light blue ground.A—Dark blue—fringe the same.B—Light green.C—Yellow or deep cream.Green ground.1. Light yellow-green ground.A—Medium yellow-green—fringe the same.B—Amethyst.C—Apricot.2. Yellow-green ground.A—Black—fringe the same.B—Burnt-orange.C—Deep yellow-tan (chamois).Tan ground.1. Buff ground.A—Seal-brown.B—Yellow-green.C—Orange.Fig. 28.Border 13 (Fig. 28.)Tan ground.1. Tan ground.A—Chestnut-brown—fringe the same.B—Olive-green.C—Topaz.2. Champagne ground.A—Seal-brown—fringe the same.B—Topaz.C—Orange.Lavender ground.1. Lavender ground.A—Dark amethyst or wistaria—fringe the same.B—Wild-rose.C—Silver-gray.2. Lavender ground.A—Black—fringe the same.B—Dark amethyst.C—Turquoise-blue or gold.Yellow-pink ground.1. Pale yellow-pink ground.A—Dark salmon—fringe the same.B—Amethyst.C—Yellow.2. Pale yellow-pink ground.A—Light amethyst (orchid).B—Nile-green.C—Yellow.Deep cream ground.1. Deep cream ground.A—Light yellow-green—fringe the same.B—Black.C—Orange.Blue ground.1. Light green-blue ground.A—Medium green-blue ground—fringe the same.B—Amethyst.C—Silver-gray.Fig. 29.Border 14 (Fig. 29.)Tan ground.1. Tan ground.A—Chestnut-brown—fringe the same.B—Orange.2. Champagne or fawn ground.A—Seal-brown—fringe the same.B—Burnt-orange, topaz, yellow-green or deep turquoise-blue.Blue ground.1. Green-blue ground.A—Dark yellow-green—fringe the same.B—Deep yellow-tan (chamois).2. Peacock-blue ground.A—Black—fringe the same.B—Henna or burnt-orange.3. Japan-blue ground.A—Black—fringe the same.B—Garnet.Gray ground.1. Silver-gray ground.A—Wistaria—fringe the same.B—Lilac.2. Silver or pearl-gray ground.A—Amethyst.B—Orchid.Old-rose or pink ground.1. Tearose ground.A—Coral pink—fringe the same.B—Deep cream.2. Old-rose ground.A—Amethyst—fringe the same.B—Yellow.Lavender ground.1. Lavender ground.A—Amethyst—fringe the same.B—Silver-gray.Fig. 30.Border 15 (Fig. 30.)Gray ground.1. Silver-gray ground.A—Sapphire blue.B—Light blue.2. Pearl-gray ground.A—Amethyst or wistaria.B—Orchid or lilac.Cream ground.1. Deep cream ground or pale apricot.A—Mahogany—fringe the same.B—Burnt-orange.2. Deep yellow-cream ground.A—Yellow-green—fringe the same.B—Gold, orange or salmon.Tan ground.1. Tan ground.A—Brown—fringe the same.B—Topaz.2. Champagne ground.A—Seal-brown—fringe the same.B—Fawn.Corn color ground.1. Corn color ground.A—Burnt-orange.B—Orange.2. Corn color ground.A—Amethyst.B—Nile-green.Blue ground.1. Light blue ground.A—Delft-blue—fringe the same.B—Silver-gray.2. Turquoise-blue ground.A—Black—fringe the same.B—Strawberry.Fig. 31.Border 16 (Fig. 31.)1. Ground—Ecru.Stripes—Seal-brown.2. Ground—Warm tan.Stripes A and C—Dark brown.Stripes B and D—Golden-brown or orange.3. Ground—Cool tan (buff).Stripes—Green-blue (electric blue).4. Ground—Corn color.Stripes—Burnt-orange or A and C black, and B and D orange.5. Ground—Light yellow-green.Stripes—Dark yellow-green.6. Ground—Light yellow-green.Stripes—A and C dark yellow-green, B and D orange.7. Ground—Medium yellow-green.Stripes—A and C black, B and D orange or salmon.8. Ground—Old China-blue.Stripes—Japan-blue.9. Ground—Burnt-orange.Stripes—A, black, B, C, D, peacock-blue.10. Ground—Tearose-pink.Stripes—Coral or laurel-pink.11. Ground—Strawberry.Stripes—Black.12. Ground—Silver-gray.Stripes—Amethyst, heliotrope or salmon pink.Fig. 32.Fig. 33.Borders 17 and 18 (Figs.32and33.)1. Ground—Tan.Stripes—Hunter-green or dark brown.2. Ground—Tan.Stripe A—Dark brown.Stripes B—Golden-brown, topaz or orange.3. Ground—Chestnut-brown.Stripe A—Topaz.Stripes B—Tan.4. Ground—Seal-brown.Stripes—Champagne, orange or green.5. Ground—Green-blue.Stripes—Cream, silver-gray or black.6. Ground—Peacock-blue.Stripes—Burnt-orange.7. Ground—Delft or Copenhagen-blue.Stripes—Silver or pearl-gray, or light yellow-green.8. Ground—Strawberry.Stripes—Black.9. Ground—White or cream.Stripes—Black or some good color.10. Ground—Salmon-pink.Stripes—Terra-cotta.11. Ground—Yellow-green.Stripes—Orange edged with black.12. Ground—Purple.Stripes—Lavender or silver-gray edged with black.13. Ground—Burnt-orange.Stripes—Dark brown, olive-green, black or peacock-blue.14. Ground—Old-rose or coral.Stripes—Amethyst, deep yellow-green or black.

In planning the colors to be used in a shawl or scarf, the Standard Color Card of America will be found very helpful. This may be obtained from the Textile Color Card Association of the United States, Inc., 315 Fourth avenue, New York. The card contains 133 standard colors, and is being very widely used in every branch of industry interested in color. The manufacturers of knitting yarns have based their standard colors on this card, which is so well-known among dealers throughout the country that it is possible to order a color by its name and number, stating that these have been taken from the standard color card. The Textile Color Card Association is very glad to give full information concerning the color card and its use.

Some of the color arrangements in the following pages have been taken from this color card.

Where the standard trade name for a color is not commonly known, I have given the more usual descriptive name.

The colors are lettered to correspond to the letters used in the diagrams, the main color of the shawl being called the ground color.

Where strongly contrasted colors are used, a narrow line of black (one or two rows of knitting) between the colors will help to harmonize them.

The following suggested color combinations are only a few of the many good combinations of colors which may be used.

Fig. 16.

Blue ground.

Purple ground.

Brown ground.

Green ground.

Gray ground.

Pink ground.

Fig. 17.

Blue ground.

Green ground.

Brown ground.

Gray ground.

Purple ground.

Fig. 18.

Blue ground.

Green ground.

Tan ground.

Brown ground.

Purple ground.

Coral ground.

Fig. 19.

Green ground.

Nile-green ground.

Blue ground.

Scarlet ground.

Pink or old rose ground.

Light or dark purple ground.

Brown ground.

Fig. 20.

Cream ground.

Burnt-orange ground.

Black ground.

Green ground.

Light or dark purple ground.

Gray ground.

Fig. 21.

Pink or old rose ground.

Blue ground.

Green ground.

Purple ground.

Brown ground.

Tan ground.

Gray ground.

Fig. 22.

Blue ground.

Purple ground.

Gray ground.

Green ground.

Fig. 23

Cream ground.

Salmon ground.

Green ground.

Coral or strawberry ground.

Brown ground.

Fig. 24.

Brown ground.

Tan ground.

Green ground.

Blue ground.

Fig. 25.

Blue ground.

Mahogany or terra-cotta ground.

Green ground.

Tan ground.

Purple ground.

Fig. 26.

Gray ground.

Tan ground.

Cream ground.

Blue ground.

Green ground.

Fig. 27.

Pink or old rose ground.

Blue ground.

Green ground.

Tan ground.

Fig. 28.

Tan ground.

Lavender ground.

Yellow-pink ground.

Deep cream ground.

Blue ground.

Fig. 29.

Tan ground.

Blue ground.

Gray ground.

Old-rose or pink ground.

Lavender ground.

Fig. 30.

Gray ground.

Cream ground.

Tan ground.

Corn color ground.

Blue ground.

Fig. 31.

Fig. 32.

Fig. 33.

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