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543:) of the garment is defined by the ease introduced at various points, as described above under "Fitting". In addition, a sweater may have ornamental lines/curves, even images. In general, these lines are chosen to achieve a balanced look; for example, well-chosen style lines can help compensate for body lines considered too long or too angular or too short or too rounded. However, visual effects may be idiosyncratic, and the knitter is encouraged to experiment.
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492:; dark shades tend to recede and be smaller, whereas light shades advance and seem larger. For example, vertical stripes with a light color in the middle and dark colors on the sides have a slimming effect. Psychologically, bright colors tend to be associated with straightforward, innocent or extroverted personalities, whereas darker shades are associated with more thoughtful, experienced and introverted personalities.
425:) with the point of the dart almost at the point of desired maximum curvature. The greater the angle of the wedge, the greater the local curvature. (The orientation of the dart is unimportant for the curvature, so it can be chosen to accentuate a style line of the garment.) Similarly, negative curvature (ruffling/saddle-shaping, as at a skirt hem, lower back or under the bust) is produced by
433:). Although the base of individual wedges usually lies on a seam, sometimes wedges occur in pairs (diamonds) that are independent of the seams. Subtracting a diamond-shaped dart produces positive curvature at the outer points of the diamond, and negative curvature at the middle points that are brought together (good for the bust or back). Conversely, adding a diamond-shaped
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Ironically, shaping is much easier and less obvious with knitted fabrics than with woven cloth. Instead of cutting out wedges and sewing the edges together, knitters can add or subtract stitches; work short rows; or, most subtly of all, change the needle size to produce smaller/larger stitches in the desired "wedge" region.
392:. For example, a "Gibson-girl" sleeve is produced by adding much ease to the upper arm and none to the lower arm, whereas the reverse is true for "bell" sleeves (also called "bishop" sleeves). Similarly, the bodice can fit loosely in the bust and tightly at the waist, or the reverse. Negative ease (i.e.,
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Comfort is paramount; the sweater should make the wearer feel at ease, in the most general sense. The temperature should be right, the fabric should "breathe" and should not irritate the skin. The sweater should hang right and not need constant adjustment; It should fit well and allow for customary
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Having determined the size and shapes of the knitted pieces, the number of stitches in a row is given by the desired width multiplied by the knitting gauge (e.g., 5 st/inch). Similarly, the number of rows in a column may be determined by multiplying the desired height by the vertical gauge (e.g., 3
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By making the sweater match the desired measurements, an excellently fitting sweater can be made. The width of a knitted piece at a given height should equal the corresponding circumference; for example, if the desired bust circumference is 38", then the front or back width at that height should be
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The fabric of the sweater can be ornamented with various textures, such as gathers, ruffles, pleats, ruching and shirring. Ornamental patterns can be added using beads, buttons, sequins, bobbles, ribbons and knots, as well as appliqué or cordwork. Overstitching (also known as Swiss darning) and
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A sweater done uniformly in the same pattern overall is relatively simple and understated, which may be the desired effect. However, it is more usual to decorate the sleeve cuffs and either the neckline or the lower hemline with an accent pattern. The accent band can be rather wide (often ~1/3 of
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The scale of the overall pattern relative to the size of the whole sweater is a key variable in the "look" of the sweater. Large overall patterns eliminate the need for accent patterns (see next section) but may be too bold for some wearers. A small, fine pattern makes an excellent background for
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Ideally, these measurements will be taken directly from the intended wearer, since bodies are idiosyncratic and these measurements may vary independently of one another, e.g., the bust measurement does not determine the waist or hip measurements, just as the height does not determine the arm length
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be too high and make the sweater undesirable. This is generally done by simplifying the design so that it can be made by machine; more complicated commercial designs are generally hand-knit in pieces that are then stitched together. For example, the separate pieces of the hand-knit sweaters found
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also affects its perceived depth. Warm colors have red or yellow tones (including orange and yellow-green) and are associated psychologically with warmth and energy. Cool colors have more bluish undertones (including purples, aquas and greens) and are associated psychologically with serene, calm
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Since knitted fabric is generally elastic, it conforms readily to the wearer's body without shaping. However, some shaping may be necessary when the knitted fabrics are unusually stiff (e.g., thick cable designs or heavily overstitched designs) or in regions of high curvature (e.g. sock heels).
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Sweaters are worn in various circumstances. For example, while some sweaters are worn at fancy dress occasions, others are worn to work, to religious services, in sporting or outdoors events such as hiking and camping. Similarly, the choice of a sweater can vary with different climates and
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different seasons, even with different times of the day. The sweater designer will generally target a particular occasion and temperature, e.g., a bulky, cabled, long-sleeved woolen seater for camping versus a refined, elegantly simple, short-sleeved cashmere sweater for white-collar work.
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The simplest choice is to use multiple shades of a single color (e.g., various shades of blue), perhaps accented with a contrasting color (e.g. flecks of yellow). The arrangement of shades on the sweater can have a significant visual effect, due to the principle of
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motion without binding (e.g., at the armholes). Finally, a sweater should not make the wearer feel uncomfortable because of its "cut" (e.g. showing bra straps or too much cleavage) or general style (e.g., colors/patterns that the wearer feels are inappropriate).
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are designed to fulfill certain aesthetic, functional and commercial criteria. The designer typically considers factors such as the insulating power of the sweater (and its resulting warmth for the wearer); the fashion of its colors, patterns, silhouette and
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is flat and has little elasticity. To produce curvature in a smooth (unruffled) woven fabric, it is necessary to subtract or add wedges of fabric. Positive curvature (cupping, such as is needed at the bust point or over the rear) is produced by
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The yarn affects the bulk and drape of the knitted fabric, as well as the visibility of stitches. Complicated stitch patterns are best seen with a smooth, highly spun yarn and may be invisible with "furry" yarns such as mohair or novelty yarns.
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may be introduced to make the sweater larger than the body (oversized), typically by increasing the circumference measurements by 2-6 inches. Different amounts of ease can be introduced at different points to give the sweater a distinctive
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The choice of yarn affects the comfort of the sweater, since it affects its warmth, weight and ability to "breathe" (air exchange). Some yarns will also produce itching or even allergic reactions in some wearers.
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The choice of closures is an important practical consideration and can also help define the sweater's style. Buttons and zippers are the most common choices for sweaters, but frogs, ties and belts are also seen.
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Despite the wealth of design techniques and studies of successful designs, the primary criterion (that the sweater be desired) is not always achieved, often due to factors beyond the designer's control including
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is a sweater that fulfils certain criteria. The primary criterion is that its intended wearer wants to wear it and, in case of commercial sweater design, is willing to buy it at a commercially feasible
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produces negative curvature at its tips and positive curvature at its middle (useful in designing stuffed animals). Sometimes, the sharp, angular edges of the wedges are softened to form continuous
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The yarn will also determine the lifetime of the sweater (in general, highly spun yarns suffer less wear with time) and how well it will retain its shape (elastic yarns like
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The washability of yarn affects its practicability. Thus, sweaters knitted for young children are usually knitted in acrylics, which are light in weight and washable.
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or shoulder width. Alternatively, the body measurements may be estimated from clothing that fits the wearer well. As a last resort, standard measurements such as
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The fit of a sweater affects its comfort, its attractiveness and, sometimes, its practicality (e.g., dangling sleeves can fall into food or get caught on hooks).
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other embroidery techniques allow for many visual effects that cannot be made with normal knitting, e.g., a circle of successively interlocking stitches.
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149:. Sweater designs are often published in books and knitting magazines. Sweater design is an old art, but continues to attract new designers such as
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19" each. The width of the upper sleeve (just before the sleeve cap, if any) should likewise equal the desired circumference of the upper arm.
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Smaller boundaries (such as collars, tops of pockets, central seam in cardigan) may receive special ornamentation as well, e.g.,
145:; the convenience and practicality of its cut; and in commercial design, the cost of its production and the profitability of its
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from the body measurements) is also possible to achieve a very close-fitting look, but more than 2 inches is not recommended.
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the insulating power, material and breathability of the sweater should make its intended wearer physically comfortable;
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are perhaps the most visually obvious embellishments. They frame the face, neck and shoulders, and complement the
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Shoulder pads and other shaping devices are uncommon, but can be included to define a particular silhouette.
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personalities. Warm colors tend to advance relative to cool colors, when both are presented simultaneously.
511:(e.g., blue and orange, green and red), or to choose a pairing that occurs in nature, e.g., yellow and red.
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Knitting
Without Tears : Basic Techniques and Easy-to-Follow Directions for Garments to Fit All Sizes
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accent patterns, but may not be visible with a particular yarn, or may be too retiring for some wearers.
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There are many types of ornamental embellishments that can modify the overall look of the sweater.
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The
Knitter's Handy Book of Sweater Patterns : Basic Designs in Multiple Sizes & Gauges
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For commercial sweater design, the production of the sweater must also be inexpensive, lest the
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Contrasting colors may be chosen in various ways. A common choice is to take a
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Nicky
Epstein's Knitted Embellishments: 350 Appliques, Borders, Cords and More!
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neck-shoulder length (horizontal distance from base of neck to shoulder point)
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circumference at the waist, the point of largest inward or outward curvature
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the sweater should be appropriate for the occasion in which it will be worn;
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The simplest sweaters (drop sleeve, cylindrical) require six measurements:
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To satisfy these secondary criteria, the designer has several tools at
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the total length) and its boundary can be straight or wavy/serrated.
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Of course, a sweater need not conform exactly to the wearer's body.
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armhole depth (vertical distance from bottom of armhole to lower hem)
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waist height (vertical distance from back of the neck to waist line)
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in stores are generally knit and assembled in different villages in
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A simple sweater pattern with drop shoulders and cylindrical torso.
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bust height (vertical distance from back of the neck to bust line)
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back length (vertical distance from back of the neck to lower hem)
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For a more tailored look, even more measurements are necessary
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A few more measurements usually produce a well-fitted sweater:
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The choice of colors is critical to the design of a sweater.
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makes its intended wearer feel fashionably attractive;
519:The designer has many choices for how to shape the
46:. Unsourced material may be challenged and removed.
299:circumference around the bust/chest (widest point)
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336:circumference of the upper arm near the armhole
308:circumference of the arm at the sleeve-cuff hem
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322:Sweater with tapered torso and set-in sleeves.
228:and embellishments, as well as the fit of the
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333:over-arm length (shoulder to sleeve-cuff hem)
305:under-arm length (armhole to sleeve-cuff hem)
350:Sweater with a waistline and set-in sleeves.
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684:Vogue Knitting: The Ultimate Knitting Book
714:, Simon and Schuster, pp. 433–448.
106:Learn how and when to remove this message
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468:are better than non-elastic yarns like
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785:List of yarns for crochet and knitting
174:. General secondary criteria include
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686:, 2nd. ed., Sixth and Spring Books.
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302:circumference (or width) of the neck
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44:adding citations to reliable sources
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412:The human body has curvature, but
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642:Sweater Design in Plain English
31:needs additional citations for
1383:The Knitting Guild Association
330:circumference at the lower hem
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1378:World Wide Knit in Public Day
1363:Revolutionary Knitting Circle
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1373:UK Hand Knitting Association
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262:Functional role as criterion
232:to its intended wearer, the
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941:Stockinette/Stocking stitch
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547:Choosing an overall pattern
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712:The Principles of Knitting
710:June Hemmons Hiatt (1988)
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378:US standard clothing sizes
1429:List of knitting stitches
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1219:Complete garment knitting
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1224:Fully fashioned knitting
644:, St. Martin's Griffin.
556:Choosing accent patterns
507:from one of the several
497:"temperature" of a color
121:is a specialization of
1424:Knitting abbreviations
1297:Stephanie Pearl-McPhee
1244:William Lee (inventor)
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1399:Basic knitted fabrics
658:, Interweave Press.
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1322:Elizabeth Zimmermann
1147:Three needle bindoff
1132:Slip-stitch knitting
1052:Drop-stitch knitting
672:, Interweave Press.
505:complementary colors
40:improve this article
1112:Picking up stitches
1017:Binding/Casting off
879:Patons and Baldwins
864:Eisaku Noro Company
775:Knitting needle cap
763:Tools and materials
696:Zimmerman E (1973)
640:Righetti M. (1990)
137:, particularly the
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700:, Fireside Press.
668:Epstein N. (1999)
628:Designing Knitwear
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192:disposal, such as
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1317:Barbara G. Walker
1097:Illusion knitting
630:, Taunton Press.
626:Newton D. (1998)
568:along its edges.
449:Choosing the yarn
280:Fitting a sweater
271:Comfort criterion
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1287:Herbert Niebling
1229:Knitting machine
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29:This article
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1439:Yarn bombing
1292:Shannon Okey
1253:Knitters and
997:Arm knitting
780:Needle gauge
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38:Please help
33:verification
30:
1312:Meg Swansen
1002:Basketweave
905:Continental
859:Coats Group
852:Yarn brands
790:Row counter
490:chiaroscuro
429:a wedge (a
421:a wedge (a
419:subtracting
394:subtracting
256:serendipity
242:price point
222:style lines
172:price point
165:The aim of
155:Meg Swansen
147:price point
135:style lines
96:August 2009
1454:Categories
1262:Sam Barsky
1042:Casting on
1032:Buttonhole
990:Techniques
956:Dip stitch
843:Variegated
621:References
541:silhouette
390:silhouette
234:silhouette
66:newspapers
1255:designers
1198:Fair Isle
1152:Thrumming
1127:Short row
1062:Faggoting
981:Yarn over
920:Norwegian
525:waistline
210:necklines
143:waistline
125:in which
1465:Sweaters
1460:Knitting
1404:Blocking
1203:Intarsia
1181:Patterns
1082:Grafting
1057:Entrelac
966:Increase
951:Decrease
934:Stitches
900:Combined
895:Circular
756:Knitting
609:See also
588:neckline
533:neckline
374:EN 13402
220:shapes,
214:hemlines
206:textures
202:patterns
161:Criteria
139:neckline
130:sweaters
1434:Selvage
1414:History
1409:Dye lot
1392:Related
1358:Ravelry
1172:Welting
1167:Weaving
1122:Ribbing
1092:Hemming
910:English
838:Novelty
828:Eyelash
682:(2002)
615:Sweater
594:lines.
592:armhole
580:Collars
566:cabling
529:hemline
408:Shaping
230:garment
226:pockets
127:knitted
80:scholar
1353:Knitty
1343:Knitta
1193:Argyle
1162:Twined
1072:Gather
1037:Cables
1022:Bobble
946:Garter
888:Styles
823:Bouclé
816:styles
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584:lapels
537:collar
521:sleeve
470:cotton
435:gusset
427:adding
218:sleeve
198:colors
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1142:Steek
1117:Pleat
1077:Gauge
431:flare
247:China
194:yarns
190:their
87:JSTOR
73:books
1188:Aran
1157:Tuck
1102:Lace
925:Warp
915:Flat
833:Lopi
814:Yarn
716:ISBN
702:ISBN
688:ISBN
674:ISBN
660:ISBN
646:ISBN
632:ISBN
590:and
582:and
531:and
495:The
474:silk
466:wool
423:dart
385:Ease
153:and
141:and
59:news
476:).
472:or
376:or
42:by
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