I absolutely adore stranded colourwork. Fair Isle and Scandanavian knitting patterns are beautiful and satisfying to create. Managing floats (the yarn that is carried in the back of the work while you are working the other colour) can be a challenge. Handled poorly, they can result in puckered work, long finger or toe traps, or contrasting yarn showing out of place on the front. Let’s dive into this topic today.
I have posted in the past about Fair Isle techniques.
In that blog, I linked to videos that show different ways that people do this as well as how people trap floats.
It’s quite common to do colour work by using Continental (picking) to manage one colour and English (throwing) to manage the other colour. (Typically patterns only use two colours per round.) You can get pretty quick using this method and it does make it easier to keep the working yarns from tangling around each other. It’s easy to keep track of which colour yarn is dominant, since you carry each colour with left or right hand respectively and consistently. To me, trapping floats in this context feels awkward, especially with the right hand yarn.
Typically it is suggested to trap floats every 3 to 5 stitches. And if you are using fine yarn that’s great. Five stitches isn’t that long of a stretch for lace or sock weight yarn. But the thicker the yarn, the longer those three to five stitch floats become. In a sleeve knit from chunky or bulky yarn, you now have finger traps to drive you crazy every time you wear the sweater.
Puckering occurs when your floats are too tight.
As you catch the floats, it’s really important to make sure that they don’t squeeze the stitches together in your project. You want to observe as you go, always striving for consistency. I have heard of people working their project inside-out as one way of helping to manage the tension on their floats. By having the floats on the outside of the arc of the work, it naturally keeps them from getting too tight. I’ve tried doing that on socks and I found that I would always revert back to right-side-out. Hats off to you if you can do it.
Little by little I have been working on managing both colours in my left hand using continental method.
I would wrap the yarns around my pinky to tension them. I would have to stop frequently to refresh my tensioning because the second yarn would ride up the first yarn. So I would start out all on one hand and revert to using two. (In the video I have linked below, they also tension both over the pinky.) It bothered me enough that I started experimenting to find a way that was easier for me. What I found was that I could tension one yarn on my ring finger and one on my pinky. This almost eliminated the riding up and twisting of the two yarns as I worked. Getting my hand set up was a little confusing to start with but the more I did it the easier it became.
As I knit, I then focused on weaving the floats as I went along (as shown in the video I’ve linked to). I struggled to manipulate the strands of yarn with a finger on my right hand as they do. I found that I really had to use the middle finger of my left hand for this. After fighting with it for a while, I discovered that for me, the key was to focus on the fact that I was knitting the working yarn alternately one stitch with the other yarn in front of it and one stitch with it behind. Obviously the the float sits behind the stitch. When I shifted to thinking about it that way, it was easier to keep from becoming confused. I would chant, “yarn in front, yarn behind” as I knit long stretches of the same colour trapping the other yarn in this way, as I went along.
The project I’m making is definitely not perfect.
But I specifically left it like this because I want to be able to show what to watch for. When using two highly contrasting yarns, no matter what you do, there will be a shadow of the darker one behind the lighter one. You’ll see hints of it between the stitches. That’s absolutely normal. What I don’t like is when you end up with a solid vertical line of the float yarn sitting between two stitches. This seems (from my experimentation) to be a result of the tension being too soft in the float yarn. It takes a bit to get the tension of the floats consistent.
I found that in order to minimize any trapped contrasting yarn showing through to the front of the work my tension needed to be tighter than I expected. The big downside of this is that you are left with little to no stretch in the finished project. As long as you plan for this, it doesn’t need to be a big deal. Practicing on small projects is a good way to figure out what works for you. All that said, if the contrast between my colours isn’t as extreme as in this project, I would err on the side of softer tension to allow a bit more stretch.
I like how tidy this way of catching floats is. Clearly, it’s up to you to decide, project by project, how frequently you trap the floats. I suspect that weaving them in this way is going to result in a stiffer fabric by nature. If you are only trapping on every second or third stitch it would allow you to leave the floats just a bit looser. I did find that I got a more consistent result on my high contrast project by following the method in the linked video.
Every project is a learning opportunity.