modern daily knitting

field guide n0. 5

SEQUENCES
Kay Gardiner
and Ann Shayne
ii | mdk field guide no. 5

Sequences
Kay Gardiner and Ann Shayne

2. Introduction

CONTENTS 6. Four Basic Forms of Sequence Knitting

8. Corrugated Shawl

16. Things Organized Neatly

18. Swirl Hat

24. Freak Flags

30. Parallelogram Scarf

38. The Joy of Improv

40. Getting to Know Designer Cecelia Campochiaro

43. Abbreviations

44. An Invitation
2| |3

I
n early 2015, we received an intriguing email from Cecelia
Campochiaro, a knitter whose profession in Silicon Valley is to
develop finely calibrated machines that inspect computer chips.

Cecelia told us that while seeking “very simple knitting projects”

to work on during business travel, she had ended up “unventing”
a simple way of knitting in which complex-looking fabrics “just
happen.” Cecelia had self-published a book about the technique,
called Sequence Knitting, and she wanted to send us a copy.

We did not say no. As longtime devotees of open-ended tech-

INTRODUCTION niques—log cabin knitting and freeform colorwork, for example—

we were intrigued.

The modesty of Cecelia’s email did not prepare us for the incredi-
ble volume that arrived on our doorstep a few days later.

The book is akin to a scientific classification of the many knitted

fabrics that result from repeating simple knit-and-purl sequences
over different multiples of stitches, using various rules of stopping
and starting. At 388 pages and four-and-a-half pounds, it is a
whopper.

And it has revolutionized the way we think about knitting.

In one sense, however, there is nothing revolutionary about

sequence knitting. Cecelia, a scientist by training, has merely
identified and described something that occurs in knitting all the
4| |5

time, whether we notice it or not. Lots of familiar stitch patterns see what happens. We have held the power in our hands and
fit the definition of sequence knitting: 2×2 ribbing, mistake rib, minds all this time, and we have not used it. It’s liberating—and
seed stitch, even lace patterns. Cecelia’s book reveals the hidden empowering. It enables us to buy yarn for its beauty, without
architecture of knitted fabric and organizes it into something we knowing exactly what to make with it, and to know for sure that
can do on purpose, thereby creating many new textures of knitted we will be able to turn it into an extraordinary textured fabric.
fabric intuitively and without using a chart.
We were thrilled when Cecelia agreed to collaborate with us on
As knitters, we are trained to think of stitch patterns as specific this Field Guide, conceived as an introduction to the four concepts
motifs to be learned, practiced, and memorized. (Think of of sequence knitting by way of four clever projects of Cecelia’s
Barbara Walker’s legendary stitch dictionaries, and the hundreds design. Where Sequence Knitting is a deep exploration of those
of quaintly named patterns in those pages.) With sequence knit- concepts, this Field Guide is a tantalizing taste.
ting, we suddenly see the rhythms that underlie all textured stitch
patterns and how a change of one stitch in either the sequence of MDK Rule No. 1: Knitting is supposed to be fun.
knits and purls, or in the number of stitches in the row or round,
can completely alter the fabric we produce. Sequence knitting is all the things we love: it’s relaxing, medi-
tative, with a spark of cleverness to keep us changing things up,
Before Sequence Knitting, it had not occurred to us, in our many experimenting. In a word, fun.
years of practice, to knit a sequence over a multiple of stitches,
either as a one-row pattern or a pattern that continues without a
break from the right side to the wrong side of the work, and just
6| |7

T
here are four basic kinds of sequence knitting.
These have to do with what happens when you begin a
new row. Do you stop the sequence and start it anew
on the next row? Or do you let the sequence “turn the corner”
at the end of a row and continue uninterrupted on the next
row? What about when you knit in the round, or add increases
or decreases? Curious and interesting things happen in each
and every case.

FOUR 1-Row. The sequence is worked to the end of the row, then begins
anew at the beginning of the new row. Every row is the same. The
BASIC FORMS Corrugated Shawl on page 8 includes eight 1-row patterns.

of Serpentine. The sequence is worked to the end of the row,

then the sequence wraps around the edge of the fabric to con-

SEQUENCE tinue uninterrupted as the new row begins. The rows are often
different from each other. The Corrugated Shawl on page 8

KNITTING includes 8 serpentine patterns.

Spiral. The sequence is worked in the round. This takes a

sequence into a whole new realm, because the beginning-of-
round marker does not interrupt the sequence. Check out the
Swirl Hat on page 18.

Shaped 1-Row. An increase or decrease at the end of a row

throws a sequence into a different pattern. See this idea in
action in the Freak Flags on page 24 and the Parallelogram
Scarf on page 30.
8| |9

This is our idea of a good time.

T
he best way to get a feel for the way sequence knitting
works is to knit a bunch of sequences, one after the other.
The single change of a stitch in a sequence can make your
fabric utterly different. As much as we have been experimenting
with sequences, we are still surprised when this happens.

It’s just so cool.

CORRUGATED
SHAWL
At the conclusion of the Corrugated Shawl, you’ll find yourself
with a luxurious wrap that contains 16 different sequence stitch
patterns. The trick here is to choose smooth, round yarns with
excellent stitch definition—sorry, but we’re going to steer you
away from wildly variegated yarns. You want to see what’s
going on with the sequences, where the patterns can some-
times be subtle and surprising.

The yarn here, Crave Yarn’s dreamy Caravan, is

unabashedly luxurious. If you’re going to be
making a wrap like this, so beautifully simple
yet somehow intricate, it feels right to use a
special yarn. In our experience, knitting
a luxurious yarn is a form of self-care.
OK, so it’s a form of indulgence too,
but if we don’t indulge ourselves,
who will?
10 | | 11

Corrugated Shawl
Sequence Schematic
KNITTED MEASUREMENTS The pattern is best worked in a luxury SHAWL
St st
Width: Approx 15" [38 cm] yarn with a clean structure to empha- 16
CO 98 sts and place a marker around the first
Length: Approx 78" [198 cm] size the different textures and make a 15 rev St st st. This indicates the beginning of the piece;
luscious fabric. Sequence when the shawl is viewed from the front, this
14
MATERIALS marker will be at the bottom right and will
— Caravan by Crave Yarn [100 g skeins, For the sequence-knitting sections, 13 help with counting rows.
each approx 354 yds (323 m), the work is done with either the 1-row 12
70% superwash fine merino/ method, where a sequence is restarted Work the sections following the table on
11
10% camel/ 10% cashmere/ and then repeated across the row, or the page 14. Work each section of sequence
10% mulberry silk)]: 4 skeins serpentine method, where the sequence 10 knitting for 36 rows, followed by 12 rows
Full shawl shown on pages 8–9 and continues from row to row. 9 of St st or rev St st as indicated; the final

198 cm
78"
12–13 in Authenticity. Swatches section will be worked in sequence knitting.
8
shown on page 2 in Tilly (brown), The stitch count is not changed through-
Franklin (gray), Realm (dark teal), out the work, and each section is worked 7 After the table is complete, BO all sts.
Authenticity (cream), and Nuance over a multiple of 4 stitches + 2 or 8 6
(light teal). stitches + 2. To change the width, add or FINISHING
5
— One pair size US 5 (3.5 mm) needles, subtract stitches in increments of 8. Weave in ends.
or size needed to achieve gauge 4

— Removable stitch marker You will not always be able to work a 3 Soak piece in water with a wool wash
complete sequence before the end of the or shampoo for at least 30 minutes to
2
GAUGE row. In the case of a partial sequence, thoroughly wet the fabric. Rinse and press
26 sts and 36 rows = 4" (10 cm) over St st continue to work the leftover stitches in 1 out the water repeatedly until the water
pattern to the end. runs clear. Then spin out any remaining
15"
Notes 38 cm
water (salad spinners work wonders; or
This sampler shawl uses 16 different If you use a long-tail cast-on, be sure to place in a lingerie bag and swing outdoors
sequence-knitting fabrics separated cast on loosely by either using a larger to shake out water). Lay out the shawl on a
by spacers of stockinette and reverse needle or spacing out the stitches as flat surface, and pin the 4 corners to the final
stockinette stitch. The gauge of each they are formed to ensure that the dimensions. Smooth the shawl, and put pins
fabric is different, and this, combined cast-on edge is not too narrow. at the top and bottom of each sequence-
with the natural curl of the stockinette knitting section, letting the stockinette
stitch, creates the corrugated effect. edges curl.
12 | | 13
14 | | 15

Corrugated Shawl * Work 36 rows of all Sequence Patterns shawl (or scarf) * Work __ rows of all Sequence Patterns
Table ** Work 12 rows of all Spacer Patterns of one’s own ** Work __ rows of all Spacer Patterns

Section Sequence Sequence Row Fabric Spacer Section Sequence Sequence Row Fabric Spacer
No. Pattern * Method Repeat Description Pattern ** No. Pattern * Method Repeat Description Pattern **
1 [k2, p2] 1-row 2 Broken garter St st 1
2
2 [k2, p2] serpentine 2 2x2 rib rev St st 3
4
3 [k3, p1] 1-row 2 Mistake rib St st
5
6
4 [k4, p4] 1-row 2 Accordion rev St st
7
5 [k4, p4] serpentine 4 Broken welting St st 8
9
6 [k3, p4, k1] serpentine 4 All over rev St st 10
11
7 [k5, p3] 1-row 2 Mistake rib St st 12
13
8 [k5, p3] serpentine 4 All over rev St st 14
15
9 [k6, p2] 1-row 2 Accordion St st
16
10 [k5, p2, k1] 1-row 2 Mistake rib rev St st
The Corrugated Shawl Table at left makes are fine; wild variegateds are dangerous!
11 [k6, p2] serpentine 4 Broken rib St st it super easy to see the pattern at a glance; Figure out what gauge would create a scarf
so easy, in fact, that once you’ve tried it or shawl at the width you desire, and fill out
12 [k3, p2, k3] serpentine 4 All over rev St st
out, you may want to cook up a sequence this chart with your own personal recipe
13 [k5, p1, k1, p1] 1-row 2 Mistake rib/accordion St st shawl (or scarf) of your own. We offer this of sequences. You can include spacer pat-
blank table as an enticement. terns (rows of plain stockinette or reverse
14 [k5, p1, k1, p1] serpentine 4 All over rev St st
stockinette) as you like, or not. They give

15 [k2, p1, k1, p2, 1-row 2 Broken garter St st Find a yarn you love. Remember: Smooth, the sequences a bit of elbow room to shine,
k1, p1] round yarn shows stitches best; light but they’re not required. The odds of this
16 [k2, p1, k1, p2, serpentine 4 All over BO colors show off the stitchwork most clearly; looking cool are very high. We can’t wait
k1, p1]
slow-changing gradients and ombres to see what you create.
16 | | 17

THINGS
ORGANIZED
NEATLY

M
y grandmother’s pantry had a row of hooks
that had been painted over many times, in creamy
white. The hooks were at the eye level of a preschool
child, under bracketed shelves that held flour and sugar in glass
jars and cookies in packets from the store. From these hooks hung
Grandma’s saucepans, none of which matched and most of which
were dented or scorched. Hanging there in a row, they looked
serene and orderly. As a small kid, I would open the pantry door
just to look at the saucepans. Then I’d give each one a little shove,
and set them all to rocking against the beadboard wall.

I still find great satisfaction in order, in a kitchen drawer or on a

museum wall. One of the best gifts I ever received was a copy of
the book How to Wrap Five Eggs, by Hideyuki Oka. And I can spend
hours looking at the Tumblr account Things Organized Neatly,
which is full of aesthetically pleasing arrangements of ordinary
objects. Who spends their time arranging all of their erasers like
a Mondrian painting? I don’t know, but I salute these anonymous
heroes. I love their work.

—Kay
18 | | 19

SWIRL
HAT

T
ruth be told, we like our hats kind of
understated. We also like a hat to be a simple
and entertaining sort of knitting project,
which is where sequence knitting comes in handy.
In this brand of knitting, a hat’s textural shifts are
folded into the sequence in a perfectly organic way.

Speaking of organic, the yarn you see here is so

noble, so unpretentious, that Brooke Sinnes, the
yarnmaker who creates it in northern California,
named it Sincere Sheep. She dyes her special fibers
with natural materials like fustic and logwood,
creating gentle shades that we really love.
20 | | 21

KNITTED MEASUREMENTS NOTES HAT Stockinette

Circumference: Approx 181/2" [47 cm] This hat is worked in the round using Using smaller needle, CO 120 sts. Join, — Rnds 1 and 2: Knit.
the spiral method. The marker is only being careful not to twist sts; pm for — Rnd 3: Knit to last st, kfb—121 sts.
SIZES to count rounds—unless specified, the beginning of rnd.
To fit head sizes 20–22" [51–56 cm]. sequence should be continued right past Right-Leaning Swirl
See Notes if you would like to change the marker. Fine Ribbing Work [k5, p1, k3, p1] for 10 rnds.
size. Work [k1, p1] for 3 rnds. Sequence will end perfectly at the end of
The patterns are changed by varying the the 10th rnd.
MATERIALS stitch count between 119, 120, and 121. In Patterned Ribbing
— Cormo Sport by Sincere Sheep the main sequence—[k5, p1, k3, p1]—the Work [k5, p1, k3, p1] for 7 rnds. Stockinette
[4 oz (114 g) skeins, each approx pattern multiples are 10 stitches + 9, 10 Change to larger needle. — Rnd 1: K2tog, knit to end—120 sts.
400 yds (366 m), 100% domestic stitches, and 10 stitches + 1, respectively, — Rnd 2: Knit.
Cormo wool]: 1 skein Mrs. Fisher, and the pattern makes a left-leaning — Rnd 3: Knit to last 2 sts, k2tog—
Epiphyte, or Cumulus swirl, ribbing, and a right-leaning swirl, 119 sts.
Note: One skein is enough yarn to respectively.
make 2 hats. swirl hat at a glance
Souchy Hat
— Size US 3 (3.25 mm) circular needle, The round repeat for the swirls is 10 (not including crown shaping)
Sequence Schematic
16" (40 cm) rounds, so each swirl section will end (not including crown shaping
— Size US 4 (3.5 mm) circular needle, perfectly at the marker on the 10th round.
3 rnds St st
16" (40 cm), or size needed to
10 rnds left-leaning swirl
achieve gauge When working the crown, pull the yarn
— Size US 4 (3.5 mm) double-pointed firmly between the needles to minimize 3 rnds St st

needles (set of 6), or size needed to laddering. 10 rnds right-leaning swirl

achieve gauge 3 rnds St st
— Stitch markers To increase or decrease the hat size, 10 rnds left-leaning swirl
change the stitch count in multiples of 10.
3 rnds St st
GAUGE
10 rnds right-leaning swirl
25 sts and 36 rnds = 4" (10 cm) over St st
3 rnds St st
(knit every rnd), using larger needle
7 rnds patterned ribbing
3 rnds fine ribbing
22 | | 23

Left-Leaning Swirl — Rep Dec Rnd until 10 sts remain.

Work [k5, p1, k3, p1] for 10 rnds. Sequence Cut yarn, thread tail through
will end perfectly at the end of the 10th rnd. remaining sts, pull tight and
fasten off.
Stockinette
— Rnd 1: Kfb, knit to end—120 sts. FINISHING
— Rnd 2: Knit. Weave in ends, wash, and block.
— Rnd 3: Knit to last st, kfb—121 sts.

Right-Leaning Swirl
Work [k5, p1, k3, p1] for 10 rnds. Sequence
will end perfectly at the end of the 10th rnd.

Stockinette
— Rnd 1: K2tog, knit to end—120 sts.
— Rnd 2: Knit.
— Rnd 3: Knit to last 2 sts, k2tog—119 sts.

Left-Leaning Swirl
Work [k5, p1, k3, p1] for 10 rnds. Sequence
will end perfectly at the end of the 10th rnd.

Stockinette
— Rnd 1: Kfb, knit to end—120 sts.
— Rnds 2 and 3: Knit.

Crown
— Divide sts evenly onto 5 dpns, with
24 sts per dpn.
— Dec Rnd: [Knit to last 2 sts of needle,
k2tog] 5 times—5 sts dec.
24 | | 25

FREAK
FLAGS

I
f you are one of those knitters who thinks
knitting always must serve a vital practical purpose,
this may be a stretch for you.

This project is purely about the pleasure of knitting up

a bunch of triangles in different sequence-knitting pat-
terns. These pennants or banners (or, as we lovingly refer
to them, freak flags) let you see how sequence knitting
behaves when increases or decreases are in the mix—and
they provide the pleasure of knitting with hand-dyed yarn.

When we discovered Amy Lee Serradell’s Canon Hand

Dyes at a fiber festival, we knew we had to match her artful
mini-skeins with a project that allows maximum playful-
ness with color.

At the end of this joyful exercise, instead of a pile of

swatches, you’ll have a neatly joined ribbon of triangles
that can brighten a corner of your home, a celebration, a
Christmas mantel, or your very own neck. (Try it on before
you make fun.)
26 | | 27

KNITTED MEASUREMENTS NOTES TRIANGLE 1 — Set-Up Row 2: K1, kbf—3 sts.

Triangles: 6" [15 cm] along each edge The pattern is written for a 7-triangle Working Optional I-Cord Tie — Sequence Row: [K1, p1] to last st,
bunting where each triangle is a different — With A and DPNs, cast on 3 sts. *Do kbf—1 st inc.
Bunting/Scarf stitch pattern and color. The bunting can not turn; slide sts back to right-hand — Rep Sequence Row until you have
Width: 36" [91.5 cm] per 7 triangles be made longer by repeating triangles end of needle. Drawing yarn across 42 sts. BO until only 6 sts remain
Length: 5" [12.5 cm] 1–7 for a total of 14 triangles (as we did for back of knitting, k3; rep from * until (including st on right-hand needle
the bunting in our photos). Even longer is I-cord measures approx 10" (25.5 cm). after BO), taking care to keep sts
MATERIALS possible—just add more triangles. Proceed to Sequence Row. loose enough so triangle does not
— Charles Merino by Canon Hand pucker. Slip st from right-hand
Dyes [25 g mini-skeins, each approx An optional 3-stitch I-cord can be added Working without I-Cord Tie needle back to left-hand needle.
100 yds (91.5 m), 80% merino wool/ at beginning and end for hanging. Work — With A, make a slipknot and place Cut A; do not turn work.
20% nylon]: 1 mini-skein in each of I-cord to 10" (25.5 cm) or desired length, on needle.
7 colors (indicated as A–G) then begin Triangle 1 with Sequence Row. — Set-Up Row 1: Kbf—2 sts.
Colorway 1: Sunlight On the last triangle, BO until 3 sts remain
Colorway 2: Candlelight and then work the I-cord to the same
Note: One set of 7 mini-skeins is length as in the beginning.
enough for at least 14 triangles.
— One pair size US 3 (3.25 mm) On most rows you will not be able to work
needles, or size needed to achieve a complete sequence before working the
gauge increase at the end of the row. In the case
— Two size US 3 (3.25 mm) double- of a partial sequence, continue to work
pointed needles, for optional leftover stitches in pattern to last stitch.
I-cord tie
The tension along the diagonal edges
GAUGE must be loose or the triangles will pucker.
Approx 28 sts and 32 rows = 4" (10 cm) Pulling more yarn through the first stitch
over St st of every row helps.

The top 2 rows of bunting in

Note: Gauge will vary slightly from Even though the bunting is made up of
this photo are Colorway 1/
triangle to triangle; it is not critical for 6" (15 cm) triangles, the width is shorter Sunlight. The bottom 2 rows
this project. because the triangles overlap. are Colorway 2/Candlelight.
28 | | 29

TRIANGLE 2 TRIANGLE 7
— Continue across remaining 6 sts — Sequence Row: With G, [k5, p1] to last
from previous triangle. st, kbf—1 st inc.
— Sequence Row: With B, [k2, p1] to last — Rep Sequence Row until you have 42
st, kbf—1 st inc. sts. BO all sts, taking care to keep sts
— Rep Sequence Row until you have loose enough so triangle is not puck-
42 sts. BO until only 6 sts remain ered. Note: If you prefer to work
(including st on right-hand needle an optional I-cord tie, BO until 3 sts
after BO), taking care to keep sts remain (including st on right-hand
loose enough so triangle does not needle after BO), then work I-cord
pucker. Cut yarn; do not turn work. as for beginning of Bunting.

TRIANGLE 3 FINISHING
— Sequence Row: With C, [k2, p2] to last Weave in ends, wash, and block each
st, kbf—1 st inc. triangle to approx 6" (15 cm) along each
— Complete as for Triangle 2. edge, making sure to block to sharp
points; trim ends flush.
TRIANGLE 4
— Sequence Row: With D, [k3, p1] to last
st, kbf—1 st inc.
— Complete as for Triangle 2.

TRIANGLE 5
— Sequence Row: With E, [k3, p3] to last
st, kbf—1 st inc.
— Complete as for Triangle 2.

TRIANGLE 6
— Sequence Row: With F, [k4, p2] to last
Left: The yarns in Colorway 1/ Sunlight are
st, kbf—1 st inc. on the gold plates. The yarns in Colorway 2/
— Complete as for Triangle 2. Candlelight are on the pewter plates.
30 | | 31

PARALLELOGRAM
SCARF

F
or once, we’re celebrating bias. Beautiful,
slanted bias. The wonderful bias that
happens when you think you’re knitting in
one direction but discover things are not what
they first appeared to be.

This scarf is worked on the bias with two

different long-repeat yarns to create a
soft, reversible, textured fabric. Every
row is worked the same except for a
double increase or double decrease
every other row. The way you
combine the yarns, for example,
whether you work from the
inside or the outside of the ball,
affects the result in the most
intriguing of fashions.
32 | | 33

KNITTED MEASUREMENTS NOTES working with long-repeat balls of yarn

Width: Approx 8" [20.5 cm] See right to learn about the exciting Working simultaneously with two long-repeat balls like the ones from Freia fibers is
Length: Approx 70" [178 cm] possibilities for color play when working entertaining because the color play between the balls evolves with the knitting. The
with long-repeat yarns. repeats are so long they can extend across an entire ball, and the choice for the start
MATERIALS has a big effect on the final look. To make Parallelogram Scarves that look like ours, the
— Ombré Fingering Shawl Balls by Because the scarf is worked on the color progression of your balls needs to match ours. If it does, begin from the outsides of
Freia Fine Handpaints [3.53 oz balls, bias, the cast-on is much longer than the balls as shown below, and alternate the ball you work from every 2 rows. If the colors
each approx 430 yds (393 m), expected. For the scarf to hang properly of your balls evolve in the reverse direction, pull from the middle or rewind the ball.
100% US merino wool] with nice points, the tension of the
Lichen-Vintage Colorway cast-on, bind-off, and sides is important.
A: Lichen, 1 ball Consider beginning with waste yarn and
B: Vintage, 1 ball a provisional cast-on, then changing to
Cloud-Mist Colorway your working yarn, leaving a tail 3 times
A: Cloud, 1 ball the width of the stitches on the needle.
B: Mist, 1 ball After a few inches of the piece are com-
Purpleheart-Whisper Colorway plete, you can remove the provisional
A: Purpleheart, 1 ball cast-on and use the tail to bind off the
B: Whisper, 1 ball cast-on stitches.
— One pair size 5 (3.75 mm) needles, Color A: Lichen Color A: Cloud Color A: Purpleheart
or size needed to achieve gauge The pattern multiple is 4 stitches + 1. The Color B: Vintage Color B: Mist Color B: Whisper
— Removable stitch markers width of the scarf can be adjusted by
increasing or decreasing the stitch count
GAUGE in multiples of 4.
23 sts and 43 rows = 4" (10 cm) over
scarf pattern Every row is created by repeating the
sequence [k2, p2]. The only difference
Note: To work a gauge swatch, CO a from row to row is that odd-numbered
multiple of 4 sts + 1 (a CO of 29 sts is rows end with a double increase and
recommended), then repeat [k2, p2] even-numbered rows end with a double
sequence to desired length. decrease.
34 | | 35

You will not always be able to work a SCARF FINISHING

complete sequence before the end of the With A, CO 101 sts. Place a removable Weave ends into a section of the same
row. In the case of a partial sequence, marker around the first st (st near the color; trim ends to approximately 1"
continue to work the leftover stitches in working yarn) and 2 markers around (2.5 cm). Soak in soapy water for at least
pattern to the end. the last st. The single marker indicates 30 minutes, then rinse well and press or
the decrease edge; the double marker spin out water. Pin to final dimensions
The tension along the diagonal edges indicates the increase edge. This can be and let dry. Trim ends flush.
must be loose enough that it does not helpful during the first inch of work.
distort the drape. This is especially
important on the edge where the yarns — Row 1: [K2, p2] to last st, kbfb—
are swapped because the old yarn has 103 sts.
to travel a long distance. When working — Row 2: [K2, p2] to last 3 sts,
the first stitch of a new row, pull through k3tog—101 sts.
more yarn than you would normally. — Row 3: With A, work first 3 sts
When changing colors, bring the new (k2, p1), join B and beg with p1, work
yarn up and to the right of the yarn just in pattern to last st, kbfb—103 sts.
used to twist the yarns and prevent — Row 4: Rep Row 2.
leaving a hole. — Row 5: With B, work first 3 sts (k2,
p1), with A and beg with p1, work in
Markers help in the beginning to identify pattern to last st, kbfb—103 sts.
the increase and decrease sides. These — Row 6: Rep Row 2.
markers, and markers added just before
the bind-off, also help with blocking to Alternate A and B every 2 rows, taking
sharp points. great care with the tension of the first
st, and especially the first st of a color-
change row. Continue in this manner
until yarn is almost consumed, leaving
enough yarn to BO. On the last row, place
a marker around the first and last sts to
aid in blocking to sharp points. BO with When we combine sequence knitting and the glories of a slow-shifting
special care to not distort the points. gradient yarn, we land on knitting that is pure fun.
36 | | 37

Colorways from top to bottom: Purpleheart-Whisper; Lichen-

Vintage; and Cloud-Mist
38 | | 39

The Joy of Improv

I
sat down with a pile of Lamb’s Pride Brown Sheep
Worsted, one of the great blanket yarns, and spent a week in wild,
unfettered sequence knitting glory. The notion of serpentine
sequences is what got me. It requires virtually no planning. You work
a sequence, and when you get to the end of the row, you continue it on
the new row without interruption. It’s a serpent, winding its way from
front side to back side, across a flat fabric.

It is awesome. It creates fabrics that would never appear in a typical

stitch dictionary—sometimes a serpentine sequence can run for 18
rows before it repeats.

I began a log cabin blanket, applying just a couple of rules: Every

patch had to be 3" (7.5 cm) high. And I was not allowed to study any
pictures of sequence swatches—I wanted my adventure in serpentine
sequences to be as spontaneous as possible. I cast on 20 stitches and
let fate determine the rest.

The result? The beginnings of a blanket that I made without having to

do anything except follow Cecelia’s fundamental recipe for knits and
purls, worked continuously, without interruption at the end of a row.
Patch 1: k3, p1; Patch 2: p4, k3; Patch 3: k2, p5; on and on I went, working
each patch in a different sequence. At times, I fiddled with the number
of rows to keep the patches all the same height. And I paid attention
when picking up stitches for a new patch to try to keep all the patches
the same width. Beyond that, it was pure, unfettered improv.

—Ann
40 | | 41

get yourself a copy of Cecelia’s extraordinary by making a swatch that is at least 3 feature museum visits. Some recent
book, Sequence Knitting. It is so rich, such a inches high. After 3 inches, you can memorable exhibits include Diebenkorn
deep exploration of an idea—and one of the see the pattern build up; you’ll have & Matisse at SFMOMA, Vilhelm
most beautiful knitting books we’ve ever seen. confidence in how it looks and how the Lundstrøm at the Brandts in Odense,
knitting works, and you’ll know if you are Denmark, and Commes des Garçons at
We are humbled and delighted to have had comfortable with that sequence being the Met in New York.
the opportunity to work with Cecelia. repeated again and again in your head
like an earworm. How on earth did you create the
What has surprised you the most hundreds of swatches for your book?
during your sequence knitting How do you juggle your full-time day Two sample knitters made all the
odyssey? job in technology with designing, swatches. One of them has continued to
My biggest surprise has been the warm teaching, and writing books in the knit swatches for me for future books.
welcome from so many knitters and knitting world? Sometimes I think a fabric will be great
contributors to the fiber world. It is a I try to use the edges around my work and the swatch is meh, and sometimes I
GETTING TO KNOW daunting experience to self-publish a schedule for knitting. There is often am amazed by a swatch. I love swatching
DESIGNER CECELIA book, and I was not sure how it would one good truly silent hour in the early now; ten years ago I saw it as a waste.
CAMPOCHIARO be received. Making new friends who morning, maybe another 30 to 60
share my passion for textiles, design, and minutes in the early evening, plus larger Who are your knitting heroes?
Cecelia Campochiaro lives and works in knitting has been a joy. blocks of time on weekends and when I There are many knitters and designers
Silicon Valley, where she develops specialized extend the weekend with a day or two of I love and admire, but Elizabeth
microscopes used in computer chip What advice do you have for a paid time off. Zimmermann is my biggest hero. I wish I
manufacturing. The arts have been a lifelong newcomer to this sort of knitting? had been able to meet her.
passion running parallel to her technical Understand that sequence knitting is a Do you ever need to take the day off
life. She had an Aha! knitting moment in mindset shift. It can be done in a range of from all of it? Security Question (We’d like to get
2010, when she realized that textured fabrics difficulty from very easy 1-row patterns Sometimes I need puttering days. On into your PayPal account if that’s
could be created by the simple repetition of a to hard-to-read serpentine patterns. these days I don’t think about high-tech or OK)—What was the first concert you
sequence of stitches. Regardless of the pattern, having a way knitting, and I get caught up on errands or ever attended?
to know you are on track is important, chores. I also like to go to museums to be Queen. I was 11 and had a crush on
This Field Guide is only an introduction to e.g., knowing that a sequence must inspired. My home is about an hour south Freddie Mercury. My Dad took me and
the world of sequence knitting. We encourage end evenly after 4 rows or something is of San Francisco, where we have some some friends.
you to climb on board the mothership and wrong. I tell everyone to start a project great museums, and my vacations always
42 | | 43

abbreviations

[ ]: Instructions within brackets will Approx: Approximately

be repeated across the row/round. You Beg: Begin(ning)(s)
may have a partial sequence at the end BO: Bind off
of a row; any remaining stitches at the CO: Cast on
end of any row should fit as much of the Dec: Decreas(ed)(es)(ing)
sequence as possible. Dpn: Double-pointed
needle(s)
Inc: Increas(ed)(es)(ing)
Kbf: Knit into the back and
front of the next stitch.
Kfb: Knit into the front and
back of the next stitch.
Kbfb: Knit into the back, front,
then back of the next
stitch.
K2tog: Knit 2 stitches together.
K: Knit
Pm: Place marker
P: Purl
Rep: Repeat(ed)(ing)(s)
Rev St st: reverse Stockinette stitch
Rnd(s): Round(s)
RS: Right side
St st: Stockinette stitch
St(s): Stitch(es)
Tog: Together
WS: Wrong side
44 | | 45

AN INVITATION
Modern Daily Knitting Field Guide No. 5
Perhaps this is your first Modern Daily Knitting Field Guide.
Maybe you’ve collected them all. If you’ve found this Copyright © 2017 by Modern Knitting Media, llc
Version 2.
guidebook, we’re going to guess that you’re a daily knitter, or
a regular knitter. Certainly, you are a knitter who is curious, Photographs copyright © 2017 Sara Remington
attractive, and a generally above-average sort of person.
All rights reserved. No part of this book may be
used or reproduced in any manner without written
● Our website, Modern Daily Knitting, is created for you, the curious permission except in the case of brief quotations
knitter. embodied in critical articles and reviews.
For information, write to us at
● We bring you new stories and discoveries and treasures every day hello@moderndailyknitting.com.
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● We believe that knitting is part of a life well lived, so we cover a lot of sold for profit.
ground—personal style, self-care, food, and our recommendations
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for podcasts and binge-worthy TV.
Graphic Designer : Will Brady
● When you visit MDK regularly, you will develop an excellent knowl- Photographer : Sara Remington
edge of what’s beautiful and amazing in the world of knitting. photoStylist : Alessandra Mortola
Technical Editor : Sue McCain
● The MDK forum, called the Lounge, is our virtual hangout, where SAMPLE KNITTERs: Patricia Brower, Julie
Lindsey, Haley Parker, Nell Ziroli
you will find like-minded knitters who never seem to knit enough.

● Thousands of knitters have discovered that the MDK Shop is the Knitting tools in photograph on pages 16–17 from
Cocoknits (cocoknits.com).
source of special, hard-to-find yarns. These yarns, including the
yarns featured in this Field Guide, have been chosen with care and Printed in Canada.
are often exclusive to MDK.
ISBN: 978-0-9977865-4-5
● We spend a lot of time creating all of this for you, because we know
you’re as nuts for knitting as we are. We hope you’ll come visit
ModernDailyKnitting.com every day. There’s so much to see.
 Modern Daily Knitting
Field Guides are little
books that explore the
big world of knitting,
with patterns and
stories to inspire the
curious knitter.

FIELD GUIDE NO. 5

corrugated shawl

freak flags

swirl hat

parallelogram scarf

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