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Yarn Over Season: Turkish Stitch

The last post defined the thing knitters do to make holes in fabric on purpose (“yarn over”) rather than by accident (“oopsie”). Via  words and animated gifs, it showed how to make them between different types of stitches as well as with yarn held in the left hand and yarn in the right hand. Now, those are my left and right hands, and the way you hold yarn and needles may not look exactly the same. As long as whatever you do gets the yarn from where is after making the first stitch on the right needle, over the right needle to make the yarn over, and to where it needs to be to make the next stitch!

A yarn over adds a stitch to your total stitch count. Much like wine goes with cheese, a yarn over goes with a decrease, and keeps the stitch count constant. Which decrease and its placement, before or after the yarn over, determines the overall look in the fabric.

In this post and the ones that follow we’re going to look at several easy-to-remember stitch patterns containing little else but pairs of yarn overs and decreases. All have a mesh-like appearance, and can be used as overall fabric, in panels, and as horizontal and vertical insertions in other fabrics. As a class they are sometimes referred to as faggoting.

Yarn Over Plus Knit Two Together

The first stitch pattern we are going to look at pairs the yarn over with a knit two together (k2tog) decrease. It’s known as Turkish Stitch. The yarn over is worked first and the k2tog follows. As a right-slanting decrease which puts the left stitch of the pair on top of the right, the decrease points toward the yarn over. If the pair were isolated in a ground of stockinette stitch, the stitch in the “hole” column disappears behind the decrease column and is a very unobtrusive pairing.

There is only one row, comprised of our yarn over/decrease pair repeated between a knit selvage stitch at each side.

Turkish Stitch (mult of 2 sts +2)

All rows k1, *yo, k2tog; rep from * to last st, k1.

Cast on 20 or so stitches, and work a couple of rows in stockinette stitch  to give yourself a nice base. Then work the first row as written above. Regardless of which hand you hold the yarn in, it can be helpful to pull the fabric below the first two stitches on the left needle down; it can make it easier to insert the needles into the two stitches. When you get to the last few stitches, remember to end “k2tog, k1!” It’s all too easy to continue the rhythm of yo between knits, and add an extra yo before the selvage stitch. And that will completely mess up what follows!


After the first row, when you turn the work you’ll see the stitches on the left needle are, from right to left: a purled selvage, a right-slanting purled decrease stitch, and then the yarn over strand. After working the selvage stitch, you begin the “yo, k2tog” repeat again. Notice what this means: when you work the k2tog, you insert the right needle into/under the yarn over first, continuing into the k2tog stitch. The yarn over ends up on top. Continue across the row, again remembering to end with k2tog, k1.

The fabric produced by working successive yarn over / k2tog pairs  in this way is wonderfully elastic. At rest the dominant feature of the fabric is its diagonal lines, created by yarn over strands  and k2togs of the front that slant in the same direction. Pull it open even slightly, and the yarn over strands from the back show through. You see a zig-zag lattice of yarn strands, as well as zig-zag columns of decreases.

Turkish Stitch, unstretched and stretched


What better way to take advantage of Turkish Stitch fabric’s stretchy nature than to use it in one of my favorite shawlette shapes?! I’ve also used a tape yarn with some stretch, an oldie but a goodie from Colinette.

You’ll use a slipped-stitch selvage instead of the k1s at each side as above. This gives a nice edge, and it makes it a bit simpler to seam: 1 slipped edge stitch to 1 stitch at bottom or top (depending on which edge you fold!).

Finished measurements 12 x 40 inches [30.5 x 101.5 cm]

Collinette Tagliatielli (90% wool, 10% nylon; 175 yds/3.5 oz [160 m/100 g]): 1 skein
US 15 [10.0 mm] needles or size to get gauge
Tapestry needle

Gauge 10 sts = 4 inches [10 cm] in Turkish Stitch, slightly stretched

LOOSELY cast on 30 stitches; knit 1 row.

All rows slip 1 purlwise with yarn in front, *yo, k2tog; rep from * to last st, k1.

Work as above until there is approximately 9 feet [ 2.75 m] of yarn left. Knit 1 row; bind off loosely. Fold one end to one side as shown in this post and seam.

Back in the day I was obsessed with faggoting stitches, as well as capelettes. And Colinette yarns. My Delores Cape pattern uses all three, naturally. Read more here or on my Ravelry pattern store.






From Stitch Pattern to Project Swatch

In the last post I talked about Sand and Dot stitch, stitch patterns that are simply two sides of the same fabric. When you fall in love with a stitch pattern in a book or magazine (or website ;), the first step is to make a swatch to a) see how your fingers like making it, and b) see what the resulting fabric feels and looks like. Once you’ve decided you want to move forward with the pattern, the next step is to swatch for using it in a project.

Above you’ll see the swatch, design inspiration photos, and rough schematic which I included in my design proposal for the Coronado Cardi. When I made the swatch, I was testing the idea of beginning with a Sand stitch border, which would curl just slightly toward the body. Above the border, the body in Dot stitch would allow the multicolor yarn to take center stage, with just a smattering of purl bumps to tie the textures together. The swatch shows where I tried a buttonhole band in Sand stitch to see what that would look like.

I used the same size needle throughout. Note how on the  right edge of the main fabric the border appears just a tiny bit wider than the Dot stitch main fabric.  Since I didn’t change needles or stitch count, shouldn’t the fabric be the same width on both sides??

The top of the loop and running threads are the dominant feature of any purl-based fabric like Reverse Stockinette or Sand stitch. The width-wise character of these “frowns” and “smiles” cause the curl at top, bottom, and sides of these fabrics. Perhaps it is simply the curl that we see, making Sand stitch appear wider, or even measure as being a fraction of a fraction of an inch wider, than Dot stitch. When designing, the best you can do is make a big swatch and trust your measurements (taking the average of several).

A Simpler Project

Let’s use our base stitch patterns to make a simple circular cowl. I’m going to use the Faux Channel Island cast-on from a few weeks ago as a bottom border, and a flat edge of some kind as a top border. Looking in my stash, I found three skeins of Jamieson’s Chunky Shetland (126 yds/100g; 15 sts and 22 rows for 4 inches/10 cm on US 10), each in a different color. In Swatch 1 (amethyst), Swatch 2 (aster), and Swatch 3 (north sea) below I explored ways to vary the stitch pattern(s) that would be appropriate for my project.


Swatch 1

The simplest thing to do? Begin with my chosen bottom border and jump right into the stitch pattern. End by working in stockinette to create an edge that rolls away from the Sand Stitch face of the fabric and toward the Dot stitch face of the fabric.

I love the way the cast-on edge works with the fabric itself. The bottom is curling up slightly, something I will need to consider as I make final decisions about the cowl I’m creating.

Swatch 2

Welting is the horizontal equivalent of ribbing, usually worked by alternating rows of Stockinette with rows of Reverse Stockinette. Here I’ve alternated a full repeat of Sand (+1 balancing row) with a full repeat of Dot (+1 balancing row), creating a reversible fabric with a three-dimensional character.

Rows 1-4: Dot Stitch.
Row 5: Knit.
Rows 6-9: Sand Stitch.
Row 10: Knit.
Repeat rows 1-10 twice, binding off on last row.

Swatch 3

In this swatch I’ve brought together features of Swatch 1 and 2. The swatch has a large middle area of Dot/Sand stitch, and borders of the same. But I’ve interrupted the patterning with 3 rows of Reverse Stockinette on the Dot stitch side, Stockinette on the Sand stitch side. The two sides of the fabric are decidedly different, with welts that pop up out of the Dot side and receding valleys of knit stitches on the Sand side.

Rows 1-4: Dot Stitch.
Row 5: Knit.
Rows 6, 8: Knit
Rows 7: Purl.
Rows 9-20: Dot Stitch.
Row 21: Knit.
Rows 22, 24: Knit.
Row 23: Purl.
Rows 25-28: Dot Stitch.
Bind off, purling.

In the final post of this series I’ll go over the process of writing up a simple cowl pattern worked in the round for each of these swatches as well as show you the results of knitting them.




Stitch Pattern: Sand and Dot Stitch

Sand and Dot stitch are two sides of the same coin, much like Reverse Stockinette and Stockinette. Change WS to RS and voila: you’ve swapped one for the other as your chosen fabric. The purl bumps sprinkled liberally over the face of Sand give it the gritty character from which it derives its name. Their smooth opposite side allows the rarer purls on the Dot stitch side to pop out of the fabric in splendid isolation. Here’s how you make them:

Sand Stitch (even number of sts)Sand Stitch

Rows 1 and 3 (WS): knit.
Row 2: *k1, p1; repeat from * to end.
Row 4: *p1, k1; repeat from * to end.

Dot Stitch (even number of sts)Dot Stitch

Rows 1 and 3 (RS): knit.
Row 2: *k1, p1; repeat from * to end.
Row 4: *p1, k1; repeat from * to end.



Deconstructing the Stitch Patterns: They’re Mashups

When you’ve been knitting for a while you develop mental strategies for remembering repeats. Freed from having to look back at your instructions, you can look at other things: the movie you’re watching, friends or family you are with, or simply the fabric magically developing under your moving fingers.

Read rows 2 and 4 as if they were sequential instead of separated by a row, and what do you see? And if you do the same thing with rows 1 and 3?


Every other row is Seed stitch. Every OTHER other row is either a knit or purl row. When you see a stitch pattern is simply a mash up of two simpler patterns it can be simple to read your work, and not have to read the instructions!

More on Pattern Mash-Ups: Inheritance

Sand and Dot inherit the characteristics of their parent patterns. Their common Seed stitch parent makes them a little shorter in height than their other parent, with more rows per inch (RPI). Their other taller parent contributes a tendency to curl at bottom, top and sides.

Coronado Cardi
Creative Knitting, Autumn 2016: Coronado Cardi

A few years back I used these stitch patterns in the Coronado Cardigan. Next post we’ll look more closely at how I used the characteristics of both stitch patterns in the design. And we’ll look at ways to play with stitch patterns in your own projects.