Circular knitting or knitting in the round is a form of knitting that creates a seamless tube. When knitting circularly, the knitting is cast on and the circle of stitches is joined. Knitting is worked in rounds (the equivalent of rows in flat knitting) in a spiral. Originally, circular knitting was done using a set of four or five double-pointed needles. Later, circular needles were invented, which can also be used to knit in the round: the circular needle looks like two short knitting needles connected by a cable between them.
Longer circular needles can be used to produce narrow tubes of knitting for socks, mittens, and other items using the Magic Loop technique. Machines also produce circular knitting; double bed machines can be set up to knit on the front bed in one direction then the back bed on the return, creating a knitted tube. Specialized knitting machines for sock-knitting use individual latch-hook needles to make each stitch in a round frame.
Many types of sweaters are traditionally knit in the round. Planned openings (arm holes, necks, cardigan fronts) are temporarily knitted with extra stitches, reinforced if necessary. Then the extra stitches are cut to create the opening, and are stitched with a sewing machine to prevent unraveling. This technique is called steeking.
The Magic Loop technique Invented by Sarah Hauschka and written in Beverly Galeska's booklet "The Magic Loop," published by FiberTrends, the Magic Loop uses a 40-inch-long circular needle to knit projects of any circumference in the round. The key is pulling a loop of extra cable out between the stitches halfway through the round.
Using a 47-inch-long circular needle lets the knitter knit two-at-a-time projects, like two socks at once, using the Magic Loop method.
Famous quotes containing the words circular and/or knitting:
“‘A thing is called by a certain name because it instantiates a certain universal’ is obviously circular when particularized, but it looks imposing when left in this general form. And it looks imposing in this general form largely because of the inveterate philosophical habit of treating the shadows cast by words and sentences as if they were separately identifiable. Universals, like facts and propositions, are such shadows.”
—David Pears (b. 1921)
“your antlers like seaweed,
your face like a wolf’s death mask,
your mouth a virgin, your nose a nipple,
your legs muscled up like knitting balls,
your neck mournful as an axe....”
—Anne Sexton (1928–1974)