The workhorse of our stable, we’re thrilled to announce ModeWerk in three weights
- Fingering for lighter projects
(approx 386 yd per 100gr skein)
- Worsted/Aran weight for scarves, hats and sweaters (approx 176 yd per 100gr skein)
- Bulky for quick, heavy projects
(approx 106 yd per 100gr skein)
A truly wonderful yarn; it’s strong, soft, beautiful to knit with (amazing stitch definition) and to top it all off, it machine washes and dries wonderfully!
Because it IS washable and so soft, it’s excellent for baby and children’s garments!
This is a wool yarn to convert folks to the beauty of easy-care, machine washable wool!
- Fingering (4 ply): Approx 28 sts = 4″/10cm using size 1US/2.25mm needles.
- Worsted (10 ply): Approx 16 sts = 4″/10cm using 5-7US/3.75-4.5mm needles.
- Bulky: Approx 10 sts = 4″/10cm using 11US/8mm needles.
Fingering is a product of South Africa,
Worsted & Bulky are products of the UK,
all weights are hand dyed in the USA (Minnesota!)
A creamy, deep white with warmth in the light and coolness when paired with a darker color. This is the definitive neutral, a necessity!
If Scotsmen were stubborn about anything — and, in fact, they tended to be stubborn about quite number of things, truth be known — it was the virtues of oatmeal ‘parritch’ for breakfast.
Through eons of living in a land so poor there was little to eat but oats, they had as usual converted necessity into a virtue, and insisted that they liked the stuff.
— Claire, Dragonfly In Amber
“Och, easy, Sassenach. If ye can stand up, you’re not drunk.” He let go of the mantlepiece, took a step toward me, and crumpled slowly onto the hearth, eyes blank, and a wide, sweet smile on his dreaming face.
— Jamie, Dragonfly In Amber
An all over yellow-green with hints of warmer yellow and deep black to liven the coolness.
Touches of warm yellow on a dark yellow base, a lovely contrast when used with more active colorways.
Daryl Dixon a neutral camo tan, with strong blood & gore red/brown overtones and just a bit of gold shining through.
A steady, lovely, glowing grey which can stand on it’s own, or just ‘be there’ for any other color you choose!
With Pewter you get contrast, but with a milder bite than Coal. This blocky marriage of medium and dark greys will pair beautifully with any of our other yarns.
A small, elderly mane of neat, precise habits … Ned Gowan was a solicitor. Born, bred, and educated in Edinburgh, he looked the part thoroughly.
— Claire, Outlander
An architect/surveyor works in black and white, which is also the color of the dreary surroundings Mr. Jesmond finds himself in on his last job before a weekend away with Jenny.
A fine, masculine, no-nonsense, serious colorway, Mr. Jesmond is black, white (cream) and grey. That’s it.
Not just black, but a combination of colors overdyed with the darkest grey to create layers of black with unusual glints of lighter grey.
Deep green and brighter touches of light create the creamy beauty of natural jade in this semi-solid yarn.
A warm olive green with yellow and black overtones, excellent as a neutral or for traditional male garments.
Lizzie Samuels is a field of green dotted with yellows, oranges and a bit of pink (that’s poetic license on my part, the actual flowers in the scene were simply yellow)
It’s the prettiest colorway in The Knitting Dead series, I though it would be a relief to have at least ONE color that wasn’t dotted with blood bathed in a grey/green patina.
However this isn’t a brightly colored field of daisies, the overdyeing of the green adds some interesting mixes and blends, making it more complex than any ordinary meadow walk.
The flowers had changed from the fragile pinks and whites of
May blossom and violets to the warmer golds and yellows of gorse and broom
— Claire, Outlander
The scarf, the blue part, was in fact the color of her eyes;
of Scottish lochs and summer skies, and the misty blue of distant mountains.
I knew she treasured it, and revised my assessment of her interest in Roger Wakefield upward by several notches.
— Claire, Dragonfly in Amber
A mix of strong green and mid blue tones on an aqua base floats over touches of warm yellow.
Everybody into the pool? I have to struggle to keep all of my colorways from being different shades of blue, I love the color so much! What I particularly love about THIS blue colorway, Bristol South Pool, is that it’s so changeable. Nice blue, nice aqua, and they all swim nicely with NO HORSEPLAY.
This could be named for any of the nuns at Nonnatus House, but Sister Julienne seems the most deserving of her own color. The medium cool blue of the nun’s habits blocked with the white of their wimples and barbettes is one of the more comforting sights in Poplar.
Strong red & pink tones on light orange base with a touch of yellow, hot – like the planet for which it was named!
A Study In Pink references the myriad shades of the victim’s coat, shoes, suitcase and – most important – cell phone, blended in a vibrant, snappy colorway which would work magnificently with any neutral, or with an equally sizzling tones!
Reminiscent of a golden sunset, orange red highlighted with deep pinks are mixed with creamy undertones.
Sometimes Pink & Black play nice, like on a Chanel box, but in this colorway they’ve met in a dark alley and are halfway through a rip roaring night on the town. And they might not be home for breakfast.
Michonne is a rich, vibrant blend of pinks, purple and reds over a base of deep brown, reflecting her passion (both in terms of intense emotion and intense suffering)
Mrs. Leah Moss has lived through her share of pain, she’s now ready for a bit of joy. But her mother has a problem which affects the whole family, a problem which makes her a prisoner in her home.
This colorway is based on the rich, warm tones of Mrs. Moss’s beautiful scarlet & purple dress, one of the loveliest in this season of Call The Midwife.
Deep, rich, strong red, so full of life you can almost taste it!
Glenn Rhee is a faded red (for his ubiquitous baseball cap) and a deep black (for his beautiful hair) mixed in a dependably repeating color, it will either stripe or pool, depending on how it’s worked up.
Glen is a color you can use for backup, an interesting base, something that will blend in right up until the moment you need him (to kill a Walker, or to provide an interesting counterpoint to a lighter color.)
Bright blue and stark scarlet streaks on a deep purple base create a dramatic and beautiful fabric.
The rich, glowing purple of Amethyst hovers between a cool blue and a firery red, making it one of the most universally loved colors.
Every season it seems that Jenny gets herself seconded to the London General Hospital, the main draw being the dragon lady who administers the discipline to the wide-sleeved nurses. Watch for the deep blue uniform of the matron married with the lovely lavender of Jenny’s blouse and deep purple of her belt.
Reaching, he took the package from my lap and tore away the wrapping, revealing a wide silver band decorated in the highland interlace style, a small and delicate Jacobean Thistle bloom carved in the center of each link.
— Claire, Outlander
Rich orange and subtle pink tones blend onto a yellow base make a color with a bit more life than the average orange blend.
Dressing for an evening out, a compact is spied, “What a lovely thing!”
But it’s a reminder of a brutal and tortured past, not lovely at all. Beauty can hide pain. Aqua, pink, gold & red are divided by strong slashes of black; a defining colorway.
The ante natal clinics have moved into a beautiful new Community Center, resplendent in it’s cheery, hopeful mid-century colors. Lush corals, aqua, yellows and tans with just a hint of white make up this colorway which is perfect for babies (and adults of all ages!)
“The witch is dead … Burnt.”
“Stuck feed first in a barrel of pitch and heaped about with dry peats. Bound to a stake and lit like a torch. Sent to the devil in a pillar of flame, under the branches of a rowan tree.”
— Dougal MacKenzie, Outlander
“So my sister was alone in the house, except for two or three of the women servants, and they all rushed upstairs to hide their heads under the bedclothes when they saw the red coats. Thought the soldiers were sent by the devil.
“And I’ll no just say they were wrong.”
— Jamie, Outlander
A strong blue with overtones of blue/black make this an unforgettable colorway.
The beautiful lilac can grow from palest white to deep, rich purple. Our bright, subdued mix of purple and lavender create a lovely base for a project.
Friends, like nations, sometimes fight. When peace is made, it’s a fragile and beautiful thing (and sometimes very short lived) This color is based on the Peace Rose (introduced in late April, 1945) with predominant green and yellow tones and a barely visible touch of light peach / pink.
Yellows and reds marry with shades of orange in a strong, blocky colorway with a rich life of it’s own.
The same cream, black and grey as the colorway, “Mr. Jesmond”, but with the beautiful deep yellow and gold that Jenny seems to favor so much in her ‘nicer’ dresses. This is a color which can stand on it’s own, now as a lovely FLOW colorway.
Strong like the stone, with the depth of color you’d expect from a felsic intrusive igneous rock. Pair this with a second FLOW color for a mind blowing experience!
The stark white & black bark peeks out from leaves which glisten green, yellow and even a touch of orange in their Autumnal transformation.
The yarn color is created by tying off portions of the yarn to be left white, then overdyeing the rest in yellow, green, and a touch of orange. Black is sprinkled to the white areas.
The rich, reddish brown colors of the buckeye nut make it a gorgeous harbinger of Fall. The yarn color is created by underdyeing pinks, yellows and orange, then allowing the yarn to set and dry completely. After that it’s overdyed with a rich brown, allowing hints of the warmer tones to come through.
The showy, pushy, orangy-reddish color which makes us feel a bit better about beautiful Summer coming to an end.
The color is created by overdyeing several different colors on top of a yellow base, then drying the yarn and overdying it yet again with deep, rich, red hues.
The color of the sky in October is like no other sky of the year. The blue moves from an almost green-yellow at the horizon, through a rich, dark blue, ending with a touch of purple at the top of the sky.
The yarn color is created by underdyeing green and purple at opposite ends of the skein, then overdyeing the entire skein in a rich, deep blue.
Colorway Available April 2015
With strong and clear blues, greens and yellows, with a rich, warm shot of blood-red, this color is based on the Central American bird, the Quetzal.