CIRCULAR SAVVY

Techniques for Knitting in the Round by Kathryn Mates

Circular knitting or knitting in the round is a technique that enables

us to create seamless circles and tubes of knitting. Uses fo r circu­

lar knitting are numerous. Hats, bags, socks and mittens are often

worked in the round. Many sweaters are designed for circular knit­

ting especially multi-colored Fair Isle and Scandinavian garments.

Think about necklines on pullovers and armholes on vests. These

finishing bands are also commonly worked in the round. And let's

not overlook circular shawls, tablecloths and doilies.

Circular knitting presents several benefits. The right side of the

garment faces the knitter so that stitch and color patterns are easy

to see. To work Stockinette stitch, all stitches are knit, no purls are

required. No seam s are needed, eliminating bulkiness, especially

fo r smaller items such as socks or mittens.

TOOLS TO USE

Circular knitting can be done using four or five double pointed

needles or a circular needle. Double pointed needles, as the name

indica tes, have points on both ends. The most common range of

lengths is 4" to 14". They usually come 4 or 5 needles to a package.

Circular needles also com e in a variety of lengths. Circular needles

have a hard tip at each end and a flexible coil in between. Lengths

are measured from tip to tip. Most common lengths for circular

needles range from 16" to 32" although some can be as small as

9" and as long as 60". Some manufacturers have kits that enable

the knitter to change the size and length of the circular needles by

attaching the desi red needle tip onto a separate cable.

The length of the needle should be less than the circumference of

the project. The stitches should sl ide eas ily around the needles.

Do uble pointed needles work well for small items such as socks or

mittens. A circular needle 16" long is good to use for hats. A 29" or

32" needle would be appropriate for an adult sweater. Some pro­

jects may require both a circular needle and double points. A hat,

for example, may begin on a 16" circular, but the knitter may need

to change to double pointed needles as the top shaping decreases

the number of stitches to a poin t where they no longer fit easily.

GAUGE

Determining gauge for a circular project requires a gauge swatch

worked in the round. Working back and forth on a flat piece will

result in an inaccurate gauge measurement. For example, stocki­

nette stitch worked in the round has all knit stitches. Stockinette

58 Cast On • February- April 2009

stitch worked flat has both knits and purls. Tension often varies be­

tween knit and purl stitches and for that reason, the gauge swatch

needs tb match the way the actual project will be worked.

Here is a short-cut technique for working a gauge swatch for a cir­

cular project. Using a double point needle, cast on the number of

stitches needed to give a width of about 5 inches. How many stitch­

es would be needed? Consult the ya rn band for a recommended

needle size and gauge as a start . Calculate the number required for

a 4 inch width and add a few extra stitches. Starting on the right

side, knit the first row then slide the sti tches to the o ther end of the

needle without turning the work. Leave a long, loose float on the

back and then knit the next row with the righ t side facing. Contin­

ue in this manner until the swatch is about 4 inches in length and

bind off. Trim the floa ts in the back and measure a 4 inch width in

the cen ter of the swatch. Count the number of stitches and divide

by 4 to get the st itches per inch. The edge stitches may be a bit loose

because of the stranding, but the center of the swatch should give

an accurate gauge for a pattern worked entirely on the right side.

CIRCULAR TECHNIQUES

The basic idea of circular knitting is that the work is not turned,

but is worked continuously in a forward direction. This creates a

spi ral of stitches. The last stitch of the round is higher than the fi rst

stitch of the round. This spiraling characteristic of working in the

round requires a few special considerations.

Casting On

When using double point needles, cast on to one needle if possible.

Use a point protector or w bber band to prevent st itches from fall ­

ing off the end. Then distribute the stitches evenly to the two or

three other needles. Move the stitches by slipping them purlwise

to an em pty needle. The reason for doing the cast on this way is to

maintain an even tension. Using multiple needles can cause twisted

or stretched stitches where the needles join. Whether using double

points or a circular needle, make sure to place a marker to identify

the first stitch of the round.

Most pattern instructions for circular knitting include the phrase

"Join round being careful not to twist" as part of the cast on direc­

tions. Whether you are using double points or circulars, make sure

the loops of the cast on stitches are all facing upward on the top

of the needle.

Since circular knitting is really a spiral, an extra step is needed

when joining a round to avoid an uneven "jog" on the cast on edge

at the joining point. Refer to swatch I. Notice the uneven edge be­

tween the last cast on stitch and the first stitch of the ribbing. This

"step" or "jog" occurs because the last stitch of the round is pulled

upward by the first stitch of the next round. There arc several ways

to eliminate this on the cast on edge.

Cast on an extra stitch. When beginning the first round , work

the extra stitch together with the first stitch of the round.

Cast on the required number of stitches. vVhen beginning the

first round exchange the last cast o n stitch and the first cast on

stitch. This maneuver is like working a cable or crossed stitch.

Slip the last cast on stitch to an empty needle, work the first

stitch of the round then work the stitch from the extra needle.

Cast on an extra st itch. Slip the first cast on stitch to the right

needle next to the last cast on stitch. Pass the last cast on stitch

over the first stitch and move the stitch back to the left needle

and begin the first round.

Use the cast on tail to connect the first and last cast on stitches.

Thread the cast on tail onto a tapestry needle. Insert the needle

from back to front around the base of the fi rst cast on stitch,

then from front to back around the base of the last cast on stitch.

Weaving the tail in this manner is a good way to smooth the edge

regardless of which technique above is used to join the round.

swatch 1

swatch 5 swatch 6

Binding Off

Keeping in mind tha t circular knitting is actually creating a spiral,

it is important to even out the edge after the last bound off sti tch.

Refer to swatch 1 and notice how the last sti tch on the bound off

edge is set higher than the first bound off stitch. The process to

even out the edge is a simple one. After binding off the last stitch,

trim the ya rn so that a 6 inch ta il remains. Thread the tail onto a

tapestry needle. Insert the needle into the first bound off sti tch

which will be one stitch to the left. Go under both loops of tha t

stitch. Pull the yarn through and then insert the tapestry needle

back into the center of the last bound off stitch. This is the spot

that the ta il originally came out after the last bind off. Pull the tail

to even out the edge then weave in the tail as usual. Swatches 2 and

3 illustrate this technique.

Ladders

You may encounter loose stitches when changing from one double

point needle to the next. See swatch 4 fo r an example. These "lad­

ders" are caused by stretching the yarn between the two needles

at the join ing point. There are several possible solutions to this

problem.

When working with double poin ts make sure the first few stitch­

es worked from the new needle are pulled tightly.

continued 011 page 60

swatch 3

swatch 7 swatch 8

www.TKGA.com 59

continued from page 59

vVhen the first st itch is a knit sti tch, bring the new needle under­

neath the last needle. When the first stitch is a purl stitch, bring

the new needle above the last needle. This tends to tighten the

stitch and requires less yarn between the stitches.

Working with 5 needles instead of 4 is also helpful. The angle

between the needles is wider and places less tension o n the yarn

at the transition points.

Stripes and Color Changes

The spiral nature of circular knitting creates a challenge when

working with colors in the round. The "jog" becomes obvious

when changing colors to create s tr iped patterns. Refer to swatch 5

for an example of the color jogs that occur when creating stripes in

the round. The last stitch worked with the new color is high er than

the fi rst stitch of the rou nd. The remed y is to make the stitches at

the beginni ng of the round and the end of the round adjacent to

each other.

Begin with the new colo r and work to the end of the round.

Before starting the next round knit in the row below by picking

up the right side of the sti tch in the row below (it will be in the

old color ) and placing it on the le ft needle. Kni t it together with

the next new color stitch.

Move the sti tch marker after the stitch just knit. The stitch kn it

in the row below becomes the last stitch in the rou nd .

Weave the ya rn tails carefully to pull the tail of the original color

downward and the new color upward.

Textured and Color Patterns

Most Fair Isle patterns are traditionally worked in the round. Th e

technique used for smoothing out the edge of a color stripe is use­

fu l fo r solid colors; textured patterns and color patterns require

an even t ransition at the end of the round in order to maintain

an even stitch pattern. Working a sp iral causes pattern distortion

since the adjacent stitch is on row below. An article by Cindy

Sauerwald in Vogue Knitting, Spring/Summer 2000 issue deals

with thi s p roblem. Her so lution is to slip the first stitch of each

round. The beginning of the next round then shifts one stitch to

the left. This technique lowers the last stitch of the round to allow

the beginning and end of the round to come together at the right

level.

Refe r to swatches 6 and 7 for an example of textured and color pat­

terns worked in the round. On swatch 6 the garter stitch edges and

60 Cast On • February - April 2009

the stranded color pattern were worked continuously in the round.

The yarn tails at the top and bottom indica te the beginning of the

round. Notice how both the garter stitch and color pattern are d is­

torted at the transition from one round to the next. Swatch 7 was

worked using the technique of slipping the stitch of each round.

The stitch marker indicates the start of the first round. Both the

garter stitch and the color pattern come together evenly.

\'Vorking cables can successfull y use the sam e technique. Most

cables are vertical patterns that do not extend past the end of the

round. The spiral nature of ci rcular knitting does not cause a prob­

lem for these types of cables. Some cables, however, a re all-over

pa tterns such as a lattice or trellis design. This type of design is very

attractive on a sock o r hat, bu t to be effective, the design must be

uninterrup ted and flow smoothly around the circumference of the

item. Swatch 8 shows an example of a lattice design worked with

the slipped stitch technique at the beginning of each round. The

stitch marker at the lower edge shows the beginning of the initial

round. The process is the same as the Fair Isle example:

Join the cast on row by slipping the first stitch purlwise. Slip

stitches gently using the tips of the needle to avoid s tretching.

The slipped stitch represents the first stitch of the pattern. Place

a m arker to identify the start of the next round.

Work the pattern around to the stitch marker. You will have

worked one stitch in the next pattern repeat at th is poin t. Re­

move the marker, slip the next stitch purlwise, replace the stitch

marker an d continue working the pattern to the end of the

round. Repeat th is step fo r the desired length of the pattern.

Keep in mind that the beginning of a round and the beginning

of a pattern repeat will not always occur at the same poin t.

Working a cable across the beginning of a round requires some

attentio n. The rule to follow is that the stitch to the righ t of the

stitch marker is a slipped stitch and will be worked at the end

of that round . That stitch m ay have been m oved as pa rt of a

cable crossing or just slipped in its original place.

Knitting in the round does not need to be intimidating. It opens

up the world of socks, mittens, bags and many o ther interesting

projects. W ith so many textured and color patterns available, knit­

ters need not be restricted to plain stockinette stitch when work­

ing in the round. These tech niques present the knitter with many

choices to produce some unique and elegant results.