Rye & Rum Punch
The deep brown of Rachel Atkinson’s yarn is stunning when paired with Jill Draper’s colors, and the hardest part of this design was choosing only two of Jill’s beautiful shades to contrast with it!
Rye & Rum Punch was designed with a little flexibility in mind, knowing you’ll be in the same boat. Either yarn can be the background or the accent color, and you can choose more or less accent colors if you want. I also think these peerie-inspired motifs would work in some of Jill’s fantastic variegated colorways.
The idea was inspired by a L.L. Bean sweater I remember fondly from childhood, that navy blue one with all the white flecks on it…. Rye & Rum Punch has a more modern shape and an open neckline for a feminine vibe, plus I worked colored “stripes” in place of the little flecks. I also included deep cuffs, seam detail along the sides, and bold raglan lines in the yoke.
And those details have hidden design benefits - The side “seams” are pretty, but they also create a space to modify width. The solid sections on the body and the yoke allow modifications to length without altering the stripe sequence, and the raglan makes a beautiful line in the pattern as you decrease along the yoke. Lastly, double rows of the MC between each bit of colorwork detail mean you aren’t stranding every row, but in 1-3 row bursts, with a little rest between each.
There’s a lot of flexibility in how you can modify the color sequence, and you know I’ve added a few comments with ideas for that!
Scroll down for more details.
The deep brown of Rachel Atkinson’s yarn is stunning when paired with Jill Draper’s colors, and the hardest part of this design was choosing only two of Jill’s beautiful shades to contrast with it!
Rye & Rum Punch was designed with a little flexibility in mind, knowing you’ll be in the same boat. Either yarn can be the background or the accent color, and you can choose more or less accent colors if you want. I also think these peerie-inspired motifs would work in some of Jill’s fantastic variegated colorways.
The idea was inspired by a L.L. Bean sweater I remember fondly from childhood, that navy blue one with all the white flecks on it…. Rye & Rum Punch has a more modern shape and an open neckline for a feminine vibe, plus I worked colored “stripes” in place of the little flecks. I also included deep cuffs, seam detail along the sides, and bold raglan lines in the yoke.
And those details have hidden design benefits - The side “seams” are pretty, but they also create a space to modify width. The solid sections on the body and the yoke allow modifications to length without altering the stripe sequence, and the raglan makes a beautiful line in the pattern as you decrease along the yoke. Lastly, double rows of the MC between each bit of colorwork detail mean you aren’t stranding every row, but in 1-3 row bursts, with a little rest between each.
There’s a lot of flexibility in how you can modify the color sequence, and you know I’ve added a few comments with ideas for that!
Scroll down for more details.
The deep brown of Rachel Atkinson’s yarn is stunning when paired with Jill Draper’s colors, and the hardest part of this design was choosing only two of Jill’s beautiful shades to contrast with it!
Rye & Rum Punch was designed with a little flexibility in mind, knowing you’ll be in the same boat. Either yarn can be the background or the accent color, and you can choose more or less accent colors if you want. I also think these peerie-inspired motifs would work in some of Jill’s fantastic variegated colorways.
The idea was inspired by a L.L. Bean sweater I remember fondly from childhood, that navy blue one with all the white flecks on it…. Rye & Rum Punch has a more modern shape and an open neckline for a feminine vibe, plus I worked colored “stripes” in place of the little flecks. I also included deep cuffs, seam detail along the sides, and bold raglan lines in the yoke.
And those details have hidden design benefits - The side “seams” are pretty, but they also create a space to modify width. The solid sections on the body and the yoke allow modifications to length without altering the stripe sequence, and the raglan makes a beautiful line in the pattern as you decrease along the yoke. Lastly, double rows of the MC between each bit of colorwork detail mean you aren’t stranding every row, but in 1-3 row bursts, with a little rest between each.
There’s a lot of flexibility in how you can modify the color sequence, and you know I’ve added a few comments with ideas for that!
Scroll down for more details.
Yarn: Main Color: Daughter of a Shepherd DK (75% Hebridean, 25% Zwartbles wool; 255yards/233meters per 100g per skein). Shown in Natural Brown.
Accent Colors: Jill Draper Makes Stuff Mohonk (100% Cormo; 370 yds/338m per 4oz/113g skein). AC1 (pale pink) shown in Shell, AC2 (darker pink) shown in Boudoir Bench.
If substituting, choose a DK yarn that meets gauge.
Gauge: 22sts/24 rnds per 4"/10cm in colorwork, 22sts/28 rnds per 4"/10cm in stockinette
Needles: US 6/4.0mm
Sizes:
36.75(38.5,40.25,42.25,44)(47.75,49.5,53,56.75)“
93.25(97.75,102.25,107.25,111.75)(121.25,125.75,134.5,144.25)cm
Sample worn with 4”/10cm of positive ease, based on the circumference of the body around the bust.
Yardage:
Main Color:
900(1000,1100,1200,1300)(1450,1550,1650,1750)yds
825(915,1005,1100,1200)(1325,1420,1510,1600)m
Accent Colors:
150yds/137m needed of each