• Free Lace Patterns Knitting
• Niebling Definition

Lace knitting.Lace knitting is a style of characterized by stable 'holes' in the arranged with consideration of value. Is sometimes considered the pinnacle of, because of its complexity and because cannot easily be made to have holes. Famous examples include the of, a shawl so fine that it could be drawn through a wedding ring. Shetland knitted lace became extremely popular in Victorian England when Queen Victoria became a Shetland lace enthusiast. Her enthusiasm resulted i.a.

In her choosing knitted lacework for presents; e.g. 1897 the Queen gave a lace shawl as a present to American abolitionist. Rectangular lace shawl on the needles.

White threads ('lifelines') are strung through the pattern every twenty rows and will be removed upon completion.Knitted lace with no bound-off edges is extremely elastic, deforming easily to fit whatever it is draped on. As a consequence, knitted lace must be or 'dressed' before use, and tend to stretch over time.Lace can be used for any kind of garment, but is commonly associated with scarves and shawls, or with household items such as curtains, table runners or trim for curtains and towels. Lace items from different regional knitting traditions are often distinguished by their patterns, shape and method, such as which are knit bottom up with center back gusset shaping unlike a more common neck down, triangular shawl.

Lace scarf during blockingA hole can be introduced into a knitted fabric by pairing a stitch with a nearby (usually adjacent). If the decrease precedes the yarn over, it typically slants right as seen from the right side (e.g., k2tog, not k2tog tbl; see ).

If the decrease follows the yarn over,it typically slants left as seen from the right side (e.g., k2tog tbl or ssk, not k2tog). These slants pull the fabric away from the yarn over, opening up the hole.Pairing a yarn over with a keeps the stitch count constant. Many beautiful patterns separate the yarn over and decrease stitches, e.g., k2tog, k5, yo. Separating the yarn over from its decrease 'tilts' all the intervening stitches towards the decrease. The tilt may form part of the design, e.g., mimicking the veins in a leaf.There are few constraints on positioning the holes, so practically any picture or pattern can be outlined with holes; common motifs include leaves, rosettes, ferns and flowers. To design a simple lace motif, a can draw its lines on a piece of knitting graph paper; right-slanting lines should be produced with 'k2tog, yo' stitch-pairs (as seen on the right side) whereas left-slanting lines should be produced with 'yo, k2tog tbl' (or, equivalently, 'yo, ssk' or 'yo, skp') stitch pairs (again, as seen on the right side).

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More sophisticated patterns will change the grain of the fabric to help the design, by separating the yarn overs and.It is common for lace knitters to insert a 'lifeline', a strand of contrasting yarn threaded through stitches on the needle, at the end of every pattern repeat or after a certain number of rows. This allows the knitter to rip out a controlled number of rows if a mistake is discovered.Simple examples A horizontal row of holes can be produced by the pattern:.k3, k2tog, yo, k3.A pair of vertical columns can be produced by stacking the pattern: (k, k2tog, yo, k, yo, k2tog tbl, k)on the right side. Here the flanking decreases slant outwards away from the central stitch. For a thickercentral column, one can move the decreases so that they slant inwards: (k, yo, dec 2 symmetrically, yo, k).For making the same pattern on the wrong side, the converse stitch patterns are:(p, p2tog, yo, p, yo, p2tog tbl, p) and (p, yo, dec 2 symmetrically, yo, p), respectively.A diagonal row of holes can be made by shifting the (yo, dec) every row or every other row, e.g.,. Row 1: k, k2tog, yo, k5.

Row 3: k3, k2tog, yo, k3. Row 5: k5, k2tog, yo, k1History and comparison to other laces.

Free Lace Patterns Knitting

Niebling Definition

Lyra pattern cover by Herbert NieblingHerbert Niebling developed his style from working lace patterns disseminated in magazines and leaflets he read as a young boy. The first one he was exposed to was a design by Marie Niedner and Gussi von Reden published by Otto Beyer in 1921 as Band 46: Kunst-Stricken I. The designs of that time were geometric spirals and motifs which could be replicated and expanded to create a kaleidoscope effect. In contrast, Niebling's own later designs were not simply repetitive and geometric, but contained concentrated waves of increases and decreases to create fluid shapes portraying leaves and flowers.Although much of his early work resembles the geometric style of his predecessors, Niebling’s most notable pieces are those featuring botanically accurate flower and leaf forms worked in highly textured stitches and twining against a background of mesh stitches. These pieces resemble the “true” needle and bobbin laces of earlier centuries with their densely worked floral motifs, often outlined in bolder threadwork and embellished with textural ornaments, set against a background of braided mesh (in bobbin lace) or connected by a network of bars or brides (in needle lace).He drew constant inspiration from nature. During his frequent travels, he would collect plants from foreign countries and transform their blossoms and leaves into delicate lace pictures. His ability to construct a knitting pattern working directly from live flowers without having to sketch the image first was a key part of his continuing creative achievement.Niebling produced hundreds of knitted lace designs over the 40-plus years of his career.

His patterns were published in magazines throughout Europe. Niebling himself knitted samples of his designs using special long steel double-pointed needles and extra fine cotton threads which are no longer available. 'His finest work was a tablecloth measuring about 39 inches (100 cm) square and weighing only about an ounce (30 g) that could be drawn through a finger ring.' Development of pattern symbolsIn addition to mastering a new style of knit lace, Niebling also worked with his publisher in the 1930s to develop a set of universal symbols to represent the individual stitches in lace patterns which enabled an entire row of stitches to be read at a glance. This allowed the patterns to be more comprehensible and bring a wider readership for his publications. Publisher purchased the Beyer publishing rights in 1963, and still uses the chart symbols Niebling originally developed.